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Volume 17 • Issue 92 PRE-HOLIDAY 2011
John Fulwood: The Many Benefits of Single Firing Your Work A ‘Baker’s Muffin Pan’ Pre-holiday Project Studio Poster Insert 19th Strictly Functional Pottery National Career Reflections of Angelique Tassistro Glaze Mixing Made Easy
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Random Acts of Public Art
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TIMES
Clay
AUTUMN 2011 Volume 17 • Issue 92
Gravy Boat by Martha Grover. From this year’s “Strictly Functional Pottery National” show. See poster and p. 18.
Cover photo: Two-quart Pitcher by John Fulwood. 10" tall. St. John’s Black glaze poured inside; Aerni Ash glaze sprayed outside; St. John’s Black glaze sprayed on top. Single-fired to cone 10 in reduction. Story begins on p. 14. Cover inset photo: Lidded Jar by Markus Urbanik, another 2011 Strictly Functional Pottery National juried artist. Watch for our favorite SFPN images to appear in CT's new 2012 Potter’s Calendar (a great holiday gift!), available soon from the CT online store at www.claytimes. com/store.html
features 14 John Fulwood’s Single-fired Pots After his regular bisque-then-glaze routine became monotonous, this New Jersey potter encountered a renewed sense of excitement with sprayed, layered glazes and the oncefiring process. Cut Bowl by John Fulwood. 8" diameter. Thrown and altered, with multiple sprayed glazes: SH Strontium Crystal Magic, Spotted Black, 2D Blue, and Hanna’s Fake Ash. Glaze recipes appear on page 47.
exhibits 18 Strictly Functional Pottery National It’s always a treat to view the incredible artistic talent visible in the works of the nation’s favorite exhibition devoted to utilitarian claywork. Bonus: Look for the SFPN removable studio poster inserted into this print issue of CT!
31 New Learning of Old Techniques A group of students take part in an archaeological study of pots made by the ancestral Pueblo people of northwestern New Mexico; then they learn about its purpose and formation to create their own similar works using the same ancient techniques.
41 Glaze Mixing Made Easy Stuck with another glaze recipe in the wrong format? Don’t sweat it — there’s now a tricky little answer for making your conversion totally painless. 5
contents
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TIMES
Clay AUTUMN 2011 • Volume 17 • Issue 92
departments 9 EDITOR’S DESK Thinking Globally, Acting Locally ...
11 WHAT’S HOT Clay world news, events, and calls for entries
34 THE GALLERY A selection of unique works by CT readers
Above: A new glaze calculation chart makes glaze mixing a breeze. For details, turn to page 41. Top right: Neil Patterson’s random act of public art inspires others to share. See story on page 49.
44 SLURRY BUCKET Studio-tested tips to save you time and money
45 POTTERY CLASSES Where you can learn claywork in your community
columns 21 AS FAR AS I KNOW “Preparing for the Art Faculty Interview” by Pete Pinnell
38 TOOL TIMES “Clever Clay Tools from Across the U.S.” by Vince Pitelka
47 GREAT GLAZES Cover artist John Fulwood shares recipes for singlefiring to cone 10
48 CLASSIFIED MARKETPLACE Goods and services offered especially for clay artists
50 ADVERTISER INDEX A quick reference to find your favorite ceramics suppliers in this issue (be sure to tell them you found them in Clay Times!) 6
25 BENEATH THE SURFACE “Career Reflections of Angelique Tassistro” interview by Lana Wilson
27 TEACHING TECHNIQUES “A Muffin Pan Project” by Bill van Gilder
37 BOOKS & VIDEOS Delores Porras: Artista Artesana review by Steve Branfman
40 KILNS & FIRING “Should You Switch to Natural Gas?” by Marc Ward
43 STUDIO HEALTH AND SAFETY “Glaze in Your Cosmetics?” by Monona Rossol
49 AROUND THE FIREBOX “Random Acts of Public Art” by Kelly Savino
The
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CLAYTIMES¡COM n AUTUMN 2011
^ 5/- 5 &&5-),.-5) 5.))&-5#(5." 5-./ #)855Äť#-5.))&5 &&)1-5 55' 5.)5 )5'35$) 5'), 5 Ĺƒ # (.&365-)51"35().5/- 5#.>_ 55 0#5 #( (.5755Biochemistry major, Western Washington University
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readers Share I Glaze Recipes
Great Glazes Practice: Pinch Pot
To make a basic pinch pot, take a lump of clay about the size of a lemon. It should fit comfortably in your hand. Keep a damp sponge nearby to wet
your hands. • Press one thumb into
Q Vocabulary
pinching A hand-buildin technique of squeezing g clay, usually between the fingers and thumb.
Digital Connectio
n
Using the computer and a variety of programs, have students create their own PowerPoint presentation. Assign each student a different form, such as a pitcher, goblet, teacup, or vase. Instruct them to include variations of the different parts of the form. Have them include a montage of the form as it has appeared in different cultures and time periods, including the present. Suggest that they consider contemporar y and historical functions of the form as well as the manipulation of it into nonfunctional sculpture.
52
Fig. 3–2. Thee pinch me Fig. 3–2. Th pinch method thod offers the a offers the artist rtist many many options options for creatin for creating g organic s organic shapes. hapes. Student
work, Kayli Robison, Acorn and Leaf Leaf, 2009. Terra sigillata, cone 05, newspaper post-fire smoke.
Pinching
Fig. 3–3. What theme structure and decorat does this cup express
ion balance the desig ? Describe how Student work, n. Jennifer Reusch, Renzi Frenzi, 2009. cone 04 glazes. Hand-carved, slab-built,
Using the pinch Note It Making method, you hand-buil a pinch pot is forms by squeezing d not just a beginner’s method. clay between thumb Some of the world’s and fingers. Making most beautiful a pinch pot may pottery has been simple, but it seem created by pinching. The is an art to hollow key to success out from a single lies in controlling the piece of clay. Japanese a pot turning rhythm ceramic forms while keeping the amount are ideal examples of pressure even of this art, in which the each pinch. for form is perfected ing to an acknowle accord accorddged sense of beauty. For example, each part of a tea bowl— its contours, rim, base, the feel and bal ance in the hand—am balplifies its exquisite dignity. (For more about Japanese bowls, see page tea 59.) To make a pinch pot, squeeze the between the thumb clay and fingers of hand while your one other hand holds and turns the clay. Thin and increase the height of a pot by repeating this rhythmic action. The product usually has a natural or organic quality marked by variation Fig. 3–4. How many s balance and shape. s in pinched and joined toections do you think w The ere the textural repetition walls can feature ture? At what point i gether to form this sc ulps of finger marks ist add texture and o n the process did the a part of the design, as ther decorative elem rthave a surface Student work, ents? Alyssa textured by some other white earthenware, Rodriguez, Tetonka, 2009. method such Cone 05 pinched, with as paddling, or be scraped glaze and underglaze. smooth with a metal rib.
the middle of lump. The clay the at the bottom will be the base of your pot, which should be roughly as thick as the walls. For this exercise, try to make the walls and the base about ¼" (.6 cm) thick. As you develop your tactile sense, you will be able to tell if the clay is too thick or too thin.
• Each succeeding row slightly overlap
of pinches should
s Aesthetics
row below. • Press your thumbtheand
Invite students to study the two cups in Fig. 3–5. Ask them to point out the characteristics of a pinch pot. What similarities exist between the sake cup and the teacup? Lead students in analyzing the intimate relationship between the pinched form and the action of fingers forming the clay. Describe such actions as opening, spreading, ribbing, and stroking. How does tactile quality enhance the the visual effect?
pinching fingers onto the dampene d sponge when you feel the clay drying out. Smooth over any cracks with your As the walls become moistened fingers. thinner, the clay can become too flexible and lose its shape. If that happens, let the clay dry a bit before you finish the pot. Set the pot on the table upside down for a few minutes to let it firm up, or set the pot upright inside something (a jar, a paper tube, mug, or a frozen juice container) to help support the walls.
Press clay with one thumb.
l Art History
Smooth cracks with moistened fingers.
• With your thumb inside
at the center of the base, begin pinching the clay gently between the thumb and fingers of hand while you one support it and slowly turn it with the other hand.
Sake is a Japanese wine made from rice. There are two types of cups for sake drinking. The ochoko is the smaller cup, which broadens at the neck. The larger cup, guinomi, sometimes has a fluted edge. The narrow-neck flask used for heating and serving sake is called a tokkuri.
Pinch while turning.
The earTh’s BesT Clays
• Use a gentle, even pressure
for each pinch to maintain an even thickness the walls. in
Julia Galloway’s Water Blue Base • Make a complete rotation of finger pinches.
• After you’ve gone around
for each row
once, move your pinching thumb and fingers up a bit and start a new rotation.
Move up, pinch, and turn.
Chapter 3
Fig. 3–5. Pinching tec many expressive opti hniques offer the arti st finger marks or be scrons. Surfaces may sho w be asymmetrical or ba aped smooth. Shapes can these pinched cups we lanced. How do you th ink
re finished? Japanese, Sake cup and raku teacup. 2" (5 cm) and 2½" (6.3 cm) diameter.Glazed ceramic, Private collection.
Hand-Built Forms
53
Cone 04-6 Oxidation
this is a glossy transparent base that is brushable and watercolor-like. (Pete Pinnell says this glaze is not food safe because it crazes too much and thus is not good in a dishwasher or microwave.)
Hand-build, throw, decorate, fire all the background you need is here! By emphasizing technique and creativity, Experience Clay focuses on the importance discipline and self expression. gerstleyofborate 6% Highlights include: a wide range of techniques, step-by-step ePK 7 instruction, careerFrit profi3110 les, fine art examples, and77 more.
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I
t’s exciting to see how far-reaching Clay Times has become. It has been roughly two years since our online digital edition has been accessible for free viewing worldwide. With the recent addition of page translation options, tens of thousands of readers now view each issue from places as far away as China, Poland, India, and Morocco. Being able to share helpful and inspirational clay information and images with ceramic enthusiasts across the planet is more rewarding than I ever could have imagined! Meanwhile, now that my youngest of four children is in 7th grade and I have a bit more time on my hands, I’ve become more active in my local clay community. A few weeks ago, I found myself participating in an Empty Bowls project with five other local potters at my daughter’s middle school. We were asked to demonstrate wheelthrowing to each art class throughout the school day. What fun it was to see the eyes of so many students light up as they watched and asked questions. Many had never seen a pot being made, and were very eager to try.
“Where can I get one of those [wheels]?” one student asked. Well, if you live where he and I live, you must drive for more than an hour to find a potter’s wheel or kiln for sale in a retail shop. It has been quite an inconvenience over the years. Even worse has been the prospect of paying freight on moist clay — in some cases, the cost of shipping exceeds the cost of the clay itself! This is all about to change. For quite some time now, I’ve had my eye on a vacant commercial building within walking distance of my house, for potential expansion of the business. As we go to press with this issue, I’m [cross your fingers] about to sign a lease and begin remodeling to turn the building into a local potter’s & artist’s equipment and supply store. We also plan to use a large part of the space for a gallery to showcase and sell clayworks made by many of the nation’s most talented clay artists. Taking this next leap of faith is both exciting and daunting (after all, everybody keeps telling me “retail is dead”) ... but I can’t help but think that a potter’s supply & gallery in an area loaded with potters and lacking local supplies can only be a good thing.
Better yet, we’re going to include an operational studio where folks can “try before you buy” and where we’ll be testing glaze/clay body combinations to share with readers of CT. The building also happens to be located across from the local post office, allowing us a great opportunity to expand mail-order sales of our back issues, books, potter’s T-shirts, videos, posters, calendars, artist brushes, and more. So be sure to spread the word to your potter friends west of DC in the Northern Virginia area, and log onto www. claytimes.com/store.html to see store updates and new product offerings for the holidays.
Spouting Off I Editor’s Desk
Thinking Globally • Acting Locally
One more great new development: we’re now offering “Club Mud™” memberships to encourage folks to renew for 2 years and save 5% on all Clay Times purchases (including our potter’s cruises)! The membership comes with CT’s Great Glazes books and a Club Mud T-shirt, too — again, see details online at www.claytimes.com/store.html We are presently considering distributorships for clay equipment and supplies, as well as claywork for the gallery. Please e-mail inquiries to me at: claytimes@gmail.com — Polly Beach, Editor
The 19th San Angelo National Ceramic Competition Call For Entries available at www.samfa.org • Cash Prizes • Illustrated catalog
Sponsored by San Angelo Museum Endowment for Ceramic Events Darlene and John Williams Trinity Ceramic Supply Inc.
April 20 - June 24, 2012 Jurors: G ar t h C l ar k an d Mar k D el Ve c chi o S anta Fe, Ne w Mexi c o Inv ite d Ar t ists: Ky l e an d Kel l y Phelps D ay ton, Ohi o
One Love Street, San Angelo, Texas 76903 ph: 325.653.3333 fx: 325.658.6800 email: museum@samfa.org www.samfa.org 18th San Angelo National Ceramic Competition 2010
photo courtesy of Jim Bean
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Accounts Manager: Nanette Greene clayaccounts@gmail.com Proofreader: Jon Singer Regular Columnists: Steve Branfman, Books & Videos David Hendley, Around the Firebox Pete Pinnell, As Far as I Know Vince Pitelka, Tool Times Monona Rossol, Health & Safety Kelly Savino, Around the Firebox Bill van Gilder, Teaching Techniques Marc Ward, Kilns & Firing Lana Wilson, Beneath the Surface Contributing Writers: John Fulwood • Christeena Gallahue Vicky Ramakka ✦ Printed on 100% FSC-certified and 75% post-consumer recycled paper ✦ Published by: CLAY TIMES INC. Post Office Box 365 Waterford, Virginia 20197-0365 800-356-2529 • FAX 540-338-3229
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Toll-free subscription line: 800.356.2529 Clay Times® (ISSN 1087-7614) is published quarterly, four issues per year. Periodicals Postage Paid at Waterford, VA, and at additional mailing offices. Annual subscriptions are available for $33 in the U.S.; $40 in Canada; $60 elsewhere (must be payable in US$). To subscribe, call toll-free 1-800.356.2529, or visit www.claytimes.com. Freelance editorial and photographic submissions are welcome: Please contact Clay Times or visit our Web site for writer’s and photographer’s guidelines. POSTMASTER: Address service requested. Send address changes to: Clay Times, PO Box 365, Waterford, VA 20197-0365. Copyright © 2011 Clay Times, Inc. All rights reserved. The material contained herein is derived from various sources and does not necessarily reflect the views of the publisher. All technical material is offered as general information only and should not be acted upon without expert supervision. No part of this publication may be reproduced or transmitted by any means without the written permission of the publisher.
Course and Workshop Offerings Visit www.hood.edu/ceramics for full schedule.
Brad Birkhimer Intensive Wheel ∙ Jan. 3-18 Phil Berneburg Electric Kiln ∙ Jan. 7-8 Clay & Glaze Chemistry, Theory & Practice Feb. 4 - May 5 Joyce Michaud Masters’ Throwing ∙ Jan. 12-15 Photographing Ceramics ∙ Feb. 18-19 Plates & Platters ∙ March 3-4 Kristin Muller Eastern & Western Techniques in Trimming Jan. 21-22 Ann Hobart Ceramic Decoration ∙ Jan. 26 - May 10 Catherine White Seminar to Define Personal Aesthetic Direction Feb.11-12, March 10-11, May 12-13 Hood College Graduate School Art Department (301) 696-3456 ∙ Fax (301) 696-3531 www.hood.edu/ceramics Hood College subscribes to a policy of equal educational and employment opportunities.
• ceramic art world news • events • • calls for entries •
Conferences
Calls for Entries
‰ The Gulf Coast Clay Conference takes place Feb. 1-3, 2012, at Pensacola State College in Pensacola, Florida; and on Feb. 4, 2012 at the Kiln Walk Society site in Navarre, FL. Clay Times “Teaching Techniques” columnist Bill van Gilder will serve as this year’s guest speaker and demonstrating artist. The event will also include a mug exchange, bowls donation, raffle, silent auction, and the Woodstoke Pottery and Kiln Festival on Feb. 4. For details, log onto http://gulfcoast kilnwalk.org/2012_GC_ClayConf.htm
‰ The 18 Hands Gallery in Houston, Texas is accepting entries of functional and sculptural teapots through Dec. 1 for its 5th International Texas Teapot Tournament, to take place Jan. 13-31, 2012. For complete details call 713.869.3099, e-mail info@18handsgallery.com, or log onto www.18handsgallery.com.
‰ Entries are being accepted through Dec. 4 for Flat Rate: The 4th Annual Community College Exhibition, to take place at Sierra Nevada College Gallery in Incline Village, Nevada. Works by full-time community college students are eligible. The show concept is rooted in the flat rate size limitations of the U.S. Postal Service’s Priority Mail Flat Rate Boxes—“If it fits in the box, it ships anywhere in the U.S.” The goals of the exhibition are to showcase upand-coming artists of all mediums while exploring the constraint of a physical size category on art works. Students are encouraged to be cre-
‰ Entries are being accepted through Dec. 9 for the 4th Biennial Concordia Continental Ceramics Competition, to take place Jan. 26-Feb. 24, 2012 in St. Paul, Minnesota. Original works made during the past three years by artists age 18 & up from the U.S., Canada, Mexico, Central America, and the Caribbean are eligible. For details, call 612.978.0069, e-mail markofields@msn.com, or log onto www.csp.edu/art ‰ Entries are being accepted through Dec. 10 for Clay³ 2012, a regional juried ceramics exhibition to take place Mar. 2-Apr. 1, 2012 at ClaySpace in Warrenville, Illinois. Clay³ is open to all artists working in IL, MN, WI, OH, MI, KT, TN, AK, IA, and MO, and is open to functional and sculptural ceramic art that fits within one cubic foot. Entry fee: $30 for up to 3 digital entries. Juror: Steven Hill. Awards: $575, $250, $100, $75. For more information, e-mail: info @clayspace.net, call 630.393.2529, or visit www.clayspace.net. To apply online, go to: https://www. callforentry.org/festivals_unique_info. php?ID=755 [ ‰ The Studio 550 Art Center is accepting entries through Dec. 15 for “Made for Each Other,” a show of continued on next page
CLAYTIMES·COM n AUTUMN 2011
‰ Mark your calendar now for NCECA 2012, the 46th Annual Conference of the National Council on Education for the Ceramic Arts, to take place March 28-31, 2012 at the Washington State Convention Center in Seattle, Washington. Many renowned guest speakers and ceramic artists including Christa Assad, Walter Keeler, Tip Toland, and Jason Walker will be demonstrating their techniques at the show. Check out http://www. nceca.net/static/conference_presenters .php for additional speakers and demonstrators as they are confirmed. Discount NCECA accommodations are available at the Sheraton Seattle Hotel; book your room early, as hotel space fills up fast! Details on accommodations appear online at: http://www.nceca. net/static/conference_accommo dations.php
‰ Entries are being accepted through Dec. 1 for Ink & Clay 38, Kellogg Gallery’s annual juried competition of ceramic ware, clay sculpture, prints, and drawings. $5000 in cash awards. Open to residents of: AK, AZ,CA, CO, HI, ID, MT, ND, NM, NV, OK, OR, SD,TX, UT, WA, and WY. Clay Juror: Carol Sauvion, director of Freehand Gallery and producer of Craft In America television series. For prospectus, visit www. csupomona.edu/~kellogg_gallery
ative with what and how their work will fit into the boxes. For full details and access to the online entry form, visit http://www.sierranevada.edu/ index.php?id=1599
Hot Stuff I News & Events
(
What’s Hot
11
Hot Stuff I News & Events
functional vessels in pairs & sets to take place Feb. 4-29 in Manchester, NH. To download the prospectus, visit this link: www.550arts.com/madefor eachother.pdf ‰ The Lexington Arts and Crafts Society is accepting entries from current and former Massachusetts clay artists through January 6 for its 7th biennial “State of Clay” exhibition, to take place April 22-May
20, 2012. For complete details and to download the show prospectus and application, visit http://www. stateofclay.com
tus and application, visit http:// www.washburn.edu/main/mulvane /exhibitions/exhibitions-folder/ crafts_national_2011.html
‰ The Mulvane Art Museum of Topeka, Kansas is accepting entries through Jan. 6 from U.S. citizens ages 18 & up for its Crafts National Exhibition, to take place May 5-Aug. 19, 2012. For complete details and to download the show prospec-
‰ Juror Nick Joerling will be reviewing entries from U.S. artists through January 7 for “DelecTABLE: The Fine Art of Dining,” an exhibit of functional ceramics to take place April 6-27, 2012 at the Art Students League of Denver, CO. $30 entry fee. To apply, visit: www.CallforEntry.org
Xpress-Q-11A 6” deep, 6” wide, 6 ¼” high interior
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Experiment with the look of your glazes in a Paragon 120 volt test kiln Test-firing a small digital Paragon can help you to alter certain glazes—dramatically. Achieve beautiful soft matt glazes without having to sign up for a community college just because they have a gas kiln.
Xpress-1193 and the Caldera XL are made with 3” thick insulating firebricks.
CLAYTIMES·COM n AUTUMN 2011
The Sentry Xpress digital controller includes Cone-Fire and 8-segment Ramp-Hold modes. Experiment endImagine the excitement of discov- lessly with digital accuracy. ering that a muddy-brown iron glaze Visit our website for more details at a fast cool becomes rich, red-brown on these exciting Paragon test kilns at a slow cool. In a digital test kiln, and for a list of authorized resellers. you can control the heating and cooling rates to match that of a larger kiln.
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Your Paragon test kiln will be waiting for you whenever you are ready to try another test tile—you won’t have to wait until you fill your larger kiln. Not only experiment with achieving the look of reduction, but even test crystalline glazes. The Xpress-Q-11A shown above is one of our fastest 120 volt kilns. The
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‰ The LSU School of Veterinary Medicine in Baton Rouge, LA, is accepting slide and digital submissions through Jan. 12 for its 25th Annual International Exhibition on Animals in Art, to take place March 24-April 29, 2012. The exhibition is open to all artists 18 years or older. All media are welcome; the work must be original. A $1,000 Best of Show award will be given and one entry will be chosen to appear on the cover of the Journal of the American Veterinary Medical Association. For complete details on the show, visit http://www.vetmed.lsu.edu or email artshow@vetmed.lsu.edu ‰ Submissions of functional and sculptural claywork by artists from the U.S., Canada, and South America are being accepted through January 18 for the 4th Biennial Contemporary Clay Juried Exhibition. The event is slated for May 18 through June 23, 2012 at the Western Colorado Center for the Arts in Grand Junction. For further details, call 970.243.7337 ext. 6, e-mail: csilverman@gjartcenter. org, or visit www.gjartcenter.org ‰ The Studio 550 Art Center is accepting entries postmarked by Jan. 25 for Espresso Art, a show of espresso cups of all styles and shapes that are made primarily out of clay. Functional, whimsical, stylized, representational, built in a set, or sculpted cups are all eligible, but they must serve their function and be able to hold at least 1 fluid ounce.
‰ Entries by ceramic artists are being accepted through Jan. 31, 2012 for the 21st Annual Cambridge Pottery Festival and U.S. Pottery Games (CPF) to be held June 9-10, 2012 at Lake Ripley Park in Cambridge, Wisconsin. The two-day, all-clay festival celebrates the fine art of handmade pottery and features wares by 40 professional potters from 10 states. For full details, call 608.438.1772; e-mail frogpond@bminet.com; or visit www.cambridgepotteryfestival.org ‰ The annual All-Arizona Clay Juried Exhibition is accepting entries through January 31, 2012 of works made during the past year by clay artists 18 years or older who reside in the state of Arizona. The show will be held from Mar. 29-Apr. 25, 2012 at the Shemer Art Center in Phoenix. Monetary awards will be given. To download the prospectus, log onto: shemerartcenterand museum.org ‰ Entries of functional and sculptural claywork made by artists from the U.S., Canada, and Mexico may be postmarked by Feb. 1 for the 19th San Angelo National Ceramic Competition. The event will take place April 20–June 24, 2012 at the San Angelo Museum of Fine Arts in San Angelo, Texas. For details, call 325.653.3333; e-mail collections@samfa.org; or log onto www.samfa.org/ncc.htm
‰ Digital entries of ceramic drinking vessels of all sorts may be submitted through Feb. 15, 2012 for “Coffee, Tea, or ?” to take place Mar. 10-Apr. 11, 2012 at the Terra Incognito Studios and Gallery in Oak Park, IL. For prospectus, log onto http:// www.terraincognitostudios.com/call forentry.html
‰ Entries are being accepted through May 1, 2012 for Kentucky Bourbon: By the Bottle, By the Ounce, a national exhibition of bourbon bottles and shot glasses to take place Nov. 2, 2012-Jan. 5, 2013. Digital submissions will be juried by Matt Long. Visit www.louisvilleclay.org for more information and an entry form. [
To list your events, clay conferences, calls for entries, exhibitions, or ceramic news items in Clay Times®, please e-mail complete details to: claytimes@gmail.com, or click the events link at www.claytimes.com to fill out an online submission form.
Hot Stuff I News & Events
The show will run Mar. 10-31, 2012 in Manchester, NH. To download the prospectus, visit: www.550arts.com/ espressoart.pdf
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‰ Digital entries of ceramic teapots up to 16 oz. (440 ml) in capacity are being accepted through Feb. 4 by the American Museum of Ceramic Art for its Big Fish, Small Pot V: Fifth International Small Teapot Show and Competition, to take place April 14– June 30, 2012 in Pomona, California. To find out more, e-mail thuntley@ saddleback.edu or visit www.bigfish smallpot.com
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The Route to Successful Single Firing Platter with Applied Slip. 14" diameter. Multiple sprayed glazes: SH Strontium Crystal Magic, Spotted Black, 2D Blue, and Hanna’s Fake Ash.
BY JOHN FULWOOD
CLAYTIMES·COM n AUTUMN 2011
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began single firing in 1996 and have never since questioned my decision or the beauty of the results. For years, I had created what had become popular-but-predictable pieces with bisque firing. Frankly, I became bored — I needed a new challenge. The finished pots did not excite me anymore, and there was no longer that anticipation or “wow” when the kiln was unloaded.
The catalyst for the change to single firing was a week-long workshop offered by Steven Hill at Penland School of Crafts. The first thing this workshop taught me was to remain involved with the ceramics community and never let myself become absorbed in only one way of doing things. Ultimately, the primary influence in making the adjustment to a new technique was that single firing offered
One-quart Teapot. 7" tall. Decorated with multiple sprayed glazes: Yellow Crystal Matte, JF Ash, and Aerni Ash.
Two-quart Pitcher. 10" tall. Plum Red glaze poured inside and dipped on top. SH Blue Ash dipped outside.
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One-quart Teapot. 7" tall. Sprayed glazes: Hanna’s Fake Ash over SH Strontium Crystal Magic.
Pitcher. 12" tall. Sprayed glazes: Plum Red over Rosier’s White.
Wave Platter. 20" diameter. Thrown and altered with applied slip and multiple sprayed glazes: SH Strontium Crystal Magic, Spotted Black, 2D Blue, and Hanna’s Fake Ash.
Squared Bowl. 8" diameter. Plum Red glaze poured inside. Multiple sprayed glazes outside: SH Strontium Crystal Magic, Spotted Black, 2D Blue, and Hanna’s Fake Ash.
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Spiral Mug.10 oz. St. John’s Black glaze poured inside; Aerni Ash sprayed outside with St. John’s Black sprayed on top.
be spectacular, and the glaze that accumulates in the spray booth can make a very nice scrap glaze. Before I spray glazes, I pour glaze into the inside of vessel forms. Then I spray the Single firing also presented me outside. Bowls and platters with new problems to solve, but are sprayed inside and out. as I became more comfortable After the pots are sprayed, with the process, I began they must be handled to leave the old glazes and carefully while cleaning decorating techniques behind the glaze from the bottom. and push my work forward. I Care must be taken to avoid have found over the years that leaving fingerprints on the I really do need some problems glazed surface. If the surface to solve to keep me excited of the pot becomes wet about my pots. An added bonus when you are spraying, you to adjusting to this change is will not leave fingerprints that, in these days of searching when you touch it. If you for green products and green spray a light dusting of glaze processes, single firing is also a to enhance or highlight great way to reduce the carbon an area of the pot, you will footprint of my studio. There is leave fingerprints if you nothing like a little uncertainty touch those areas — so you to get your creative juices must find a way to handle flowing and to initiate the move the pot without touching toward responsible production those dusted surfaces. I and consumption! rest bowls upside down One of the first and most on my forearm, and I hold John Fulwood abandoned bisque firing since taking a Penland important things to learn about vessel forms with my fingers workshop with Steven Hill in 1996, and hasn’t looked back. single firing is how to handle inside the pot when I am greenware in and out of the glaze cleaning the bottoms. bucket (one bump on the bucket, and your pot is cracked). I begin by applying the moisture from the glaze will meet The kiln is loaded the same way one hot wax to the bottom of the pot to in the middle of the wall, and you will would load bisque-fired pots. The only resist the glaze. Wiping the glaze off see a bubble form on the surface of the difference in firing is that I candle the raw clay can remove even the clay you pot. (You may actually hear a pop before kiln [fire at a very low temperature] want to keep, so using some type of wax you see the bubble.) Sometimes you for six to eight hours to remove any resist is important. I melt new candle can squeeze the bubble to flatten it, but moisture left in the pots. After that, the wax in an electric skillet set at 250º F. you will probably end up with a crack firing can proceed just like any other I recommend putting a little candle after the pot has been fired. It is best to glaze firing. dye in the wax; it will be easier to see glaze the inside and wait a few minutes on the pot. before glazing the outside. Avoiding thin Just like any other technique in pottery spots and compressing the wall of the making, single firing is a process I glaze the inside of the pot first and pot as you throw will reduce the risk that teaches both through mistakes allow about 15 minutes for it to dry of delamination. made as well as through successes before dipping the outside. I have read and discoveries. Don’t become When I began single firing, I glazed by articles by other potters that say you discouraged by a few failures. If you dipping and pouring, and I used oxides should glaze the inside and outside at invest the time in this new practice, for one-glaze brush decoration. Today I the same time or as close together as I am certain that you will develop a still dip and pour some glazes, but most possible — but my belief is that glazing more relaxed flow to your work, and of my glazing is done in a spray booth. the inside and outside at the same time a renewed enthusiasm for creating Spraying glazes allows me to apply layers can cause delamination of the wall of even your most routine forms. [ of glaze and to highlight certain areas the pot. When you apply glaze to the of the pot. Spraying also reduces the surface of greenware, the moisture risk of wall delamination. The downside For information about workshops causes the clay to expand. When both or John’s pottery school, go to www. of spraying glazes is that it requires a sides of the pot are glazed at the same compressor and spray guns, and it wastes kissimmeeriverpottery.com or contact John time, those surfaces expand away a lot of glaze. That said, the results can directly at riverpots@earthlink.net from each other. If the wall is too thin, me a chance to experiment with new glazes and forms, as well as continue to use my favored glazes and decorating techniques.
CLAYTIMES·COM n AUTUMN 2011
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Strictly Functional Pottery National 19th Annual Exhibition Guest Juror: Mary Barringer
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his yearly exhibition never ceases to amaze with the many forms, styles, varieties, and functions in which utilitarian ceramic art is manifested through the hands of our talented clay community. The quality of works selected by 2011 juror Mary Barringer for exhibition in this year’s show were so impressive, Clay Times has chosen to include them in this print issue’s attached studio poster insert. But since we couldn’t fit them all into this issue, we’ve chosen to publish a special new 2012 Clay Times Wall Calendar — featuring important 2012 planned events for the clay community — plus eye candy from this year’s SFPN show. This great holiday gift offers a practical and inspirational addition to ceramic art studios everywhere! Order yours online at www.claytimes.com/store.html [
View this year’s exhibition and previous shows online at: www.strictlyfunctionalpottery.net
CLAYTIMES·COM n AUTUMN 2011
Tall Box by Sarah Chenoweth Davis. 8" x 5" x 4". Porcelain fired to cone 10.
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Condiment Service by Jake Johnson. 5" x 12" x 4". Stoneware fired to cone 10 in reduction. Clay Times® Purchase Award winner.
Nesting Set by Courtney Murphy. 6" x 11" x 11". Earthenware.
Crane and Sun Bowl by Matthew D. Krousey. 3" x 11" x 11". Wood-fired stoneware.
Deco Covered Jar by Cheryl A. Hoagland. 6" x 6" x 6". Soda-glazed stoneware.
Gestural Handbuilt Cups by Clay Leonard. 4" x 4" x 5". Porcelain; cone 6 oxidation.
CLAYTIMES·COM n AUTUMN 2011
Carved Bottle by Lee Middleman. 10" x 7" x 7". Stoneware.
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BY PETE PINNELL
Part Two of a Series
I
n the first part of this column, I discussed applying for a college teaching job, and a few things you might keep in mind when doing so. In this column, I’ll go into the interview process and point out some of the potential pitfalls. If you are lucky enough to make the list of semi-finalists, the next step is that you’ll get an interview with the search committee. Traditionally, these preliminary interviews took place at the College Art Association (CAA) Conference, but many schools are moving away from this practice. In an era of tight budgets, schools often lack the funding to send all those committee members to a conference for several days. Besides that, many of us feel uncomfortable forcing an outof-work artist to make a large financial outlay based on a onein-ten chance of getting a job. This year we did our preliminary interviews via Skype — at least that way we could see the candidate and they could see us. It’s a practice that many other schools have adopted that will probably become even more prevalent in the future. No, it’s not the same as getting to meet you in person, but it’s a whole lot cheaper for all concerned. Based on about 18 Skype interviews over three days, I can provide several recommendations.
You want that person to critique every aspect of your performance. You want him or her interrupting you with orders to “quit scratching
• You don’t need to assemble some big stage set behind you, but it never hurts to remove clutter and distractions. One of our candidates had a beautiful painting behind him, and another was speaking from a pleasant room with a collection of pots on the shelf behind her. In both cases, the background had the effect of making the candidate seem more mature and “together.” • Use a wired internet connection rather than Wi-Fi. We noted a lot more “freezing” and lost connections with Wi-Fi than when the computers were hard-wired. Take your time as you answer the questions.
your head,” “don’t roll your eyes back and look at the ceiling,” and “quit saying um.” Practice a lot — practice really does make perfect, or at least a lot better. If nothing else, practice will get you comfortable with the technology, so you can concentrate on your answers. Think about what the camera on your computer will see. This includes both you and the room behind you. Here are a few things we noted:
• Don’t hold a laptop on your lap — we’ll be looking up your nose, which is not the most flattering angle for most people. Instead, orient your camera so it is looking at you from eye level. • Don’t sit too close to the computer — the camera can tend to slightly distort your face like a fisheye lens. You don’t want us mentally reminiscing about carnival mirrors while you talk. Instead, sit back a few feet. This also has the benefit of making it appear as if you were
Ask for clarification if you don’t understand what the committee is asking. Remember, we are required to treat every candidate the same, which means that we’ll be reading the same list of questions to each person we interview. Having done so, we can then respond freely to whatever clarifications you might need to better understand what we’re asking. It’s ok to ask for more information if you don’t understand the question. Besides, having even a brief back-and-forth can break the ice and make it easier to compose your answer. The purpose of the questions is to learn more about what you know, how you would teach, continued on next page
CLAYTIMES·COM n AUTUMN 2011
Practice talking over the computer with your most patient (but critical) friend.
looking at our eyes (the camera) rather than the computer screen.
Perspectives I As Far As I Know
Interviewing for an Art Faculty Position
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Perspectives I As Far As I Know
Interviewing for an Art Faculty Job (from p. 21) and what other capabilities you would bring have difficulty sleeping the night before, to the job. One of our questions was “If you but you still need to be alert. Struggling to could design a program from scratch, what stay awake during the meeting with your would you include in an ideal BFA degree in potential future Dean is not a good way to ceramics?” The point here wasn’t just to hear a impress him. list of skills you’d include, but to find out why you feel these things are important. The best • Don’t buddy up to the students, even if they candidates were able to place their answers are closer to your age than the faculty members into a larger context, and describe how basic on the committee. Graduate students today can skills (like coil-building or wheel throwing) be any age, which means that some candidates are important to the for faculty positions philosophical intent be the same age “Do your homework. Find a may of their program. The as, or even younger copy of the bulletin online and than, the graduate same is true when you are asked about learn about the school’s degree students they could your own work: the end up teaching. As programs before you go.” question is intended such, it is important to let you tell us that the candidate about your approach to making art, but is project a sense of authority without also intended to provide us some insight into seeming distant or self-absorbed. It’s a your knowledge of contemporary art and how subtle but important distinction, and finding your work fits into it. Basically, every question that bit of distance can be tricky for young you’ll be asked has at least a two-fold basis: it candidates. You don’t want to remind the will ask you for basic information, and it will search committee members that you have provide you with an opportunity to place that more in common with the students than information into its broader context. with us.
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At the end of the process, we brought three candidates to campus for daylong visits, a practice that is fairly common. Candidates who have made it to the final three are often finalists at other schools, so the intent of this portion of a search is get to know the candidate better, as well as to sell our position to the candidate. We were lucky to find some excellent finalists this year, but here a list of things I’ve noted with these and other searches over the years. • Don’t chew gum, even if that is a good way to reduce stress. As one of my students commented, “It had the immediate effect of lowering his IQ ten points.”
• Have a very picky friend work with you on your public lecture. Most of us fall back on nervous habits to fill dead space during a talk (I know that I do). We say “um” and “you know”, or we insert unnecessary modifiers in our sentences (“then I sorta glazed these with a kinda black glaze”). Did you “sorta” glaze it, or did you glaze it? Was the glaze black, or was it “kinda” black? A few of these sprinkled through a presentation aren’t a problem, but when they appear in every sentence it can get become distracting to the audience. I’ve had students who were counting (“she said ‘kinda’ 51 times!”), which means they were distracted from really hearing about and appreciating your work.
• Try to get a good night’s sleep before your day on campus. Yes, I know that it’s a really nerve-racking experience and you will
• Avoid using a rising inflection when making statements. This is the habit of ending a statement with a rising tone, as if the speaker
CLAYTIMES·COM n AUTUMN 2011
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• Do your homework — find a copy of the bulletin online and learn about the school’s degree programs before you go. Remember that the committee members are trying to envision you as a colleague, and that might be easier for them if you’re already speaking with the knowledge and authority of one. • Learn about the artwork of the people on the committee. You don’t want to make a snide comment about artists who work with grids, only to find out later that one of the committee members has spent a career working with
Simple
grids. It might not lose you the job, but it certainly won’t help you. • On the matter of snide comments — don’t make any. Try to be positive (but honest), and leave all complaints, putdowns, and negative comments for another day and another place. Every job involves struggles and frustrations, and part of collegiality is the ability to joke (or commiserate) about these things with one’s coworkers. On the other hand, no one wants to work with a habitual complainer, so on your interview day, put on your most positive face. • Avoid any reference to politics, religion, or abortion. Unless you’re applying for a job that involves teaching one of these subjects, there is almost no way that you can talk about any of these topics that won’t offend someone. If your artwork deals with sensitive subjects and you’re made it this far in the process, it means that the members of the committee respect your artwork, but it doesn’t mean that they necessarily agree with you. Make sure you discuss these topics in a way that makes it clear that you can amiably (and respectfully) work with those you disagree with.
Safe
Many of my recommendation may sound overly picky, but it’s the little things that separate the finalist from the also-rans. Remember, a tenure-track position can attract a hundred or more applicants, so everyone in the top ten has an enviable exhibition record, strong teaching credentials, and a promising future. By the time the search is whittled down to the top three, you can also add the ability to speak well and express complex ideas extemporaneously. The faculty members on the committee are thinking about what it would be like to work with you, day in and day out, for years. They’re looking for evidence that you’ll be energetic, friendly, and knowledgeable; that you’ll show initiative; and that you’ll be respectful and approachable with students. Think about the qualities you’d like to see in your closest colleagues, and then you’ll know how to present yourself.
Perspectives I As Far As I Know
were asking a question rather than making a statement. This is a common habit, but one that can make the speaker sound indecisive and unsure. “I was born in Ohio? And I was always interested in Art? I originally went to school in painting?” You can see how this would be distracting. This habit will only be eliminated with lots of practice — you’ll need to have that tenacious friend interrupt your talk every time that occurs and asks you to repeat the sentence as a statement. Interestingly, while this trait is most common among young people, it was other young people (students) who found the habit most irritating and distracting.
Finally, don’t sell yourself short. You’re probably much better than you think. At times it may seem like impossible odds, but someone always gets the job. [ Peter Pinnell is Hixson-Lied Professor of Art at the University of Nebraska at Lincoln. You can reach him at ppinnell1@unl.edu or through his Facebook page at www.facebook.com.
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Perspectives I Beneath the Surface
Career Reflections: Angelique Tassistro BY LANA WILSON
Does it sound surprising to unevenly “wash” colored slips off pieces before glazing them? Angelique Tassistro of Fly Coop Studios in Asheville, North Carolina, made this sort of mistake and has capitalized on it. This is the first of two columns on Tassistro, focusing on the development of her ceramic art career. The second column will explain details of her creative techniques.
Wilson: Did you draw and do art from an early age? Were your parents into art or did they encourage your interest?
Bowl by Angelique Tassistro employs the use of washed and layered slips.
and everything I could get my hands on at Louisiana State University. My teachers were Mikey Walsh & Bobby Silverman. I appreciate the freedom and the support of that learning process. I’m sure it has a large part to do with how I work now.
My mom is a painter, and I think she makes amazing work. My parents encouraged all of us — my two sisters, my brother, and me — to follow our dreams.
Tassistro: Probably fear. I had a ton of student loans and two art degrees and all I could think was grad school “seemed so scary.” After school, I waited tables for three years in Atlanta, and made no art. I grew more and more unhappy. My boss at the time (Mike Anderson, owner of Portofino in Atlanta, Georgia) suggested I start making art again. I remember the conversation well; I countered with, “But I don’t have access to
Wilson: Is there anything about your educational background that stands out? Tassistro: I remember being allowed and even encouraged to experiment with anything
Wilson: Why did you decide not to go to grad school?
a kiln or a wheel.” His response was, “Find it.” I signed up for a throwing class at Chastain Arts Center in Atlanta, and was hooked. For years I beat myself up for not going to grad school. As I look back, I realize if I had gone directly out of undergrad I would be making completely different work today. In undergrad I made very conceptual work: all sculptural, mixed media pieces with found objects covered in slip, plaster, and wax. I would have never dreamed I would be into functional work. Now the connection between food and people draws me to functional pottery. Our society moves so fast and pushes so hard — eating on the go and alone — that we forget to savor every moment. I don’t believe in saving the good dishes for holidays.
Wilson: Tell us how you developed your ceramic career and the selling part of it. Tassistro: Some of the most traumatizing memories in my career have to do with art and craft festivals. For years, I worked in my basement and traveled around doing festival after festival. I think they can be a little addictive — all it takes is one good festival, and you can convince yourself to do just one more; but the thing is, they are so unpredictable. Festivals can be good and with balance, can really help support a studio potter’s business ... but they are just not for me. I tense up just thinking about them. I stopped doing festivals over five years ago, and moved out of my home studio. Instead, I rented a studio with retail space in The River Arts
CLAYTIMES·COM n AUTUMN 2011
Tassistro: I didn’t do art at an early age; I didn’t make art until I was 23, after completing five years of undergrad [studies]. After my first year of studio classes, I changed my major and stayed in school for an additional three or four years. Twelve years, ago I graduated with two Bachelor of Fine Arts degrees: one in ceramics, and a second in photography.
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Perspectives I Beneath the Surface
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Angelique Tassistro (continued from previous page) District (a community of artists in Asheville, North Carolina, who have turned old warehouses into thriving, working artist studios). I have regular studio hours and am open to the public. Instead of packing up bins of heavy pottery and going to the people, I rent a more expensive studio and let the people come to me. I sell at least 70% — maybe more — of my work out of my studio. This is the best option for me; I feel lucky to have found a system that works. Wilson: About how many hours do you work each week? Tassistro: On average I work 45-48 hours a week, but this is new for me; I used to work a lot more! A friend put it into perspective for me after months, maybe years, of pushing 65-70 hour workweeks. Over lunch, I was defending myself about working so much. I insisted that I was only working crazy hours to get ready for a show. She hysterically laughed at me, to my face, then kindly said, “Who are you kidding? You will always have another show!” I realized she was right; if I wasn’t careful, I would look up and have done nothing other than my work. It’s hard for me to leave the studio, but I’m getting better at it. I leave my computer at the studio most nights so I won’t be tempted to work from home; this concept of not working so much is a work in progress. I live about five miles from my studio. The River Arts District (where my studio is) has two annual studio sales a year, the second weekends in both June and November. I work in a unique studio called Constance Williams Gallery. We have five ceramic artists upstairs, and downstairs is gallery space and an encaustic painting studio. The gallery, open seven days a week, also has events at least once a month. Even when
I’m not part of the monthly event, my work is still on display. Wilson: Do you do any commission work? Tassistro: Yes, about 30% of my work is commissioned. Wilson: How do you know what you’ve made is good? What makes for a failed piece or second? Tassistro: If it makes me smile, then I think it’s good. If I feel disappointed, then it failed. Sounds lame, but it’s the only way I can think of to explain my evaluation system. Wilson: How do you use the Internet to support your work? Tassistro: I look at images a lot on the Internet. I also have a Website, and use Facebook and a blog for social marketing tools. Wilson: Do you consider yourself a perfectionist? Tassistro: I think I’ve gotten better, but can still be a bit of a perfectionist. I can be very critical of my work and find flaws that others don’t see. Wilson: If you did other work for a living, what might it be? Tassistro: I’m actually really good at business. I’ve done public relations and marketing on the side for different businesses. I’m naturally pretty organized (not over the top — more like an organized chaos). Wilson: If you could do one thing much better, what might that be? Tassistro: Top three: singing, documenting my work, and making handles. [ Check out www.flycoopstudios.com Lana Wilson is happy to respond to your
e-mails. You may reach her at: lana@ lanawilson.com. To view her new work and workshop schedule, visit her new Web page at: www. lanawilson.com.
Making a Ceramic Baker’s Muffin Pan
TEXT & PHOTOS BY BILL VAN GILDER
ways; sift, screen, mix, or blend. We then form something with the mix, sometimes kneading it first. Next, we might glaze or decorate it, then finally bake or fire it. One we will eat; the other we’ll eat from. Food and clay are like brothers and sisters: each emerges from similar making methods, but manifests with very different end results.”
Fig. 1
D Necessary Supplies • (8) 10-oz. pieces of throwing clay [to make the cups] • (1) 4-lb. piece of clay [slab] • (1) 1-lb. piece of clay [trimming pad] • (1) 6-oz. piece of clay [for attachments] • water and a small sponge • a ruler • an undercut rib tool • a cut-off wire • a trimming tool • a piece of canvas • (2) small ware boards • a rolling pin and 2 sticks • a fettling knife • a short, ½"-diameter dowel
• • • • •
8-oz. piece of clay [support for pointer] a pointed chop stick a texture tool an edge-rounding tool round cookie cutters
The Project Making a muffin pan involves a bit of repetition throwing, and some handbuilding and assembly … nothing too challenging, but the end result is seldom seen and always gets a ‘That’s so cool!’ reaction. That reaction makes the project not only useful but very marketable, if that’s where your interest lies. Your students can partner up for the making of their pans with one doing the throwing while the other prepares the hand-built parts. Our claywork is often a solo event, so creating partnerships to get things done gets everyone involved, no matter what their skill level. With your class, clay, tools, and a small erasable board at your wheel, share these two thoughts with your class: “There are lots of similarities between making pots by hand and baking food. Both start with a recipe of some sort, which tells us what materials we’ll be using. We weigh or measure the materials, then combine them in similar
Then talk about the techniques of making multiples of similar pots; “Once you’ve established in ‘your mind’s eye what you’re going to throw, use the first pot to establish the details: the height and width, both top and bottom; the shape of the rim; and the pot’s overall form. So, make your first pot and use your ruler and other tools to establish its size and shape.” It typically takes making a couple of cups before the proportions and measurements are completely sorted out and a rhythm of making is established. Here’s a tip that I think I’ve talked about in a previous CT column; “To make pots that look alike — and that’s the goal when making your muffin cups — start by using the same quality and weights of clay. Then use the same tools, in the same order, with the same hand motions. Note that if you vary one or more of these from pot to pot the end results will also vary.” At this point, pull up your small erasable board and diagram the project (Fig. 2). It’s important that students follow the measurements that you draw and describe. Why? Because a muffin recipe is measurement-specific, and we want to create cups that are sized to hold a complete recipe mixture: not too big and not too small. Students will need to refer to your board drawings to get the needed sizes as they move through the project.
CLAYTIMES·COM n AUTUMN 2011
Optional:
o you like to bake? Or do you have students who like to bake? If that’s the case, here’s a simple and very use-specific project to share with your class: making a baker’s muffin pan (Fig. 1).
In Form I Teaching Techniques
Pre-holiday Kitchen Project
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