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Ceramics Monthly




Small Organization, Big Idea

Posted On March 1, 2009 0 Comments

How does a small nonprofit ceramic art center make a large impact on its field and its community? Collaboration.

Response to Talc and Asbestos: What We Know and What We Don’t

Posted On February 19, 2009 0 Comments
Editor’s Note: It has come to our attention that Jeff Zamek, author of “Talc and Asbestos: What we Know and What We Don’t”, published in our February 2008 issue, was a paid consultant to R.T. Vanderbilt Co., Inc., during the litigation referred to in the article. We intended to present a balanced report about potential health effects of New York talc and we believe we accomplished that. However, the writer’s relationship with the company, which has mined New York talc, should have been disclosed with the article. We regret that omission. As always, we feel that it is in our readers’ best interests to hear all possible perspectives on any topic involving health and safety. To that end, we present here a response to the talc article by a paid expert witness who testified on the opposite side of the lawsuit mentioned in the story.

Using Studio Space to Increase Profits

Posted On February 18, 2009 1 Comment

The old adage that time equals money is especially true in any labor-intensive activity. Making pottery is certainly an endeavor that requires direct labor to produce pottery for sale. Handmade pottery by definition requires physical attention from the potter during many stages of the operation.

Challenging Beauty: The Sculpture of Tom Bartel

Posted On February 18, 2009 0 Comments

The strength of Bartel’s work lies in its ability to straddle the line between humor, religious and historical imagery, and the familiar. His sculptures depict vulnerable human forms that are often changed by outside influences.

Icons, 3b, 8c, 21e, approximately 4 in. (10cm) in diameter, polyamide (similar to nylon), printed on a three-dimensional prototype machine, 2007; by Peter Jansen, Nijmegen, Netherlands.

The New Factory

Posted On February 1, 2009 1 Comment

As a field, we are particularly good at time travel, but really only in one direction. We can, and should, start to look forward-further and more often than we do. Many potters define their work by how it differs from industrially made work. For example, the industrial pot is seen as flawless, boring, identical, sterile, cheap, safe and lacking a  personal connection to the user. This critical definition goes back to William Morris’ 19th-century attack on industrialization and his subsequent championing of craft.

The Printed Pot

Posted On February 1, 2009 9 Comments

Three dimensional printing can be used to create ceramic-art objects, out of three different types of slip bodies, and can be finished using standard ceramic equipment and processes.

Simon Levin: Working Potter

Posted On February 1, 2009 0 Comments

As part of our Working Potter series, successful potter Simon Levin shares his approach to the handmade pottery business.

cover: Blue Foul, 8½ in. (22 cm) in height, by Gillian Parke, Durham, North Carolina. Photo: Seth Tice-Lewis.

Ceramics Monthly February 2009

Posted On February 1, 2009 Comments Off

Focus: Technology

Whether you’re talking about the pottery wheel or a rapid prototyping machine, a pit in the ground or a tunnel kiln, technology is closely tied with the production of ceramic objects.

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Maren Kloppmann: Working Potter

Posted On January 22, 2009 0 Comments
  Oval bowl, 23 in. (58 cm) in length, porcelain with glaze and terra sigillata, fired in oxidation, 2008. Wall plates, 24 in. (61 cm) in length, porcelain with glaze and terra sigillata, fired in oxidation, 2009. My last teaching job ended in 2002 and I consider myself to have been a full-time studio ceramic… Read More »

Work and Play: John Brickels

Posted On January 1, 2009 5 Comments

Sculptor John Brickels discusses his approach to making art, surviving as an artist and his best advice for those wishing to do the same.