Texas potter Harding Black outside his San Antonio studio, circa 1963. Recognized as “a master of glazes” (he ran 10,000 tests in one 15-year period), Black talks freely about his 60-year ceramics career.
Rather than lifting fragile raku ware from the kiln for postfiring reduction, Brazilian potter Sara Carone simply removes the kiln’s fiber lid, throws in dry sawdust and lowers a steel-drum reduction chamber.
Firing “Gasp,” a site sculpture addressing humanity’s fragile relationship with the earth, by Joseph Mannino, Pittsburgh.
Los Angeles artist David Roesler uses inlaid slip to produce intricate patterns on his slab-built earthenware boxes.
Oregon potter Cheryl Williams with an array of her “Explorations in Gold”; her article explains how to apply gold leaf.
Canadian ceramist Bruce Taylor in his Halifax, Nova Scotia, studio; this artist’s sculpture draws from varied sources, from pottery and architecture to engineering design.
Pittsboro, North Carolina potter Mark Hewitt inside his 900-cubic-foot, wood-burning tube kiln. Though he was born into a pottery family, their tradition was fine china manufacturing, not handmade salt-glazed stoneware.
Florida mixed-media artist Nan Smith provides an intimate view of her current work, from its forming and decorating processes to its reason for being.
Arizona potter Don Reitz, often called “the king of salt glaze, the workshop king, the Kenzan of American ceramics, etc.,” has continued along a path of risk and change.
Ban Kajitani brushing slip onto slab sculpture destined for a one-man show in Tokyo.