Sign up for your FREE subscription to the Ceramic Arts Daily Newsletter and we will give you Tips on Throwing Complex Pottery Forms Using Basic Throwing Skills Free!

Ceramics Monthly

Don't let this happen to you! This lovely surface was ruined by a flake of kiln wash.

The Many Layers of Kiln Wash: How to Find the Best Kiln Wash for Your Firing Temperature and Methods

Posted On September 28, 2009 17 Comments

In this post, John Britt explains that giving a bit more consideration to kiln wash might help potters avoid some of the common kiln wash headaches – like scraping cracked kiln wash off shelves or lamenting an otherwise perfect piece that was ruined by a flake of kiln wash. Plus he shares some kiln wash recipes for various firing techniques.


Ceramics Monthly, October 2009

Posted On September 22, 2009 0 Comments

Focus: Gallery Guide

Find a partner, or find inspiration through all the great work ceramics galleries are representing. Making significant work does not require a successful business plan­—but the chances of enough people seeing your work to recognize it as significant are greatly improved if you have one. The most successful plans often involve outlets beyond the studio—like galleries, websites, and stores (ideally all of the above), so you can focus on making work. Yes, these are business agreements, but they are usually more successful if approached as a partnership—a team, if you will, where everyone is invested in the process and works toward collective success.
Buy this back issue – $4.99 (PDF only)

Comment: The Underdogs

Posted On September 18, 2009 7 Comments
I have a confession to make: If you’re not the “underdog,” I’m probably not rooting for you. Please don’t take it personally. Although I sincerely respect the talent, education, training, and skills associated with a variety of expertise, I typically cheer on the underdog, whomever that may be. Underdogs, let us not forget, often can… Read More »

Review: Paul Metivier

Posted On September 18, 2009 0 Comments

The dozen or so stained earthenware sculptures revolved around human heads on pedestal-posts or wall-mounted and clusters of bird beaks (some of which were raku-fired) also mounted on the wall. The results were uniformly dark, foreboding, and very promising.

Southern Illinois University, Carbondale: From the CM MFA Factor Series

Posted On September 18, 2009 0 Comments
The ceramic program at Southern Illinois University, Carbondale, places emphasis on each student expressing their unique personality through their work. The program encourages a diverse range of attitudes including utilitarian pottery, figurative work, mixed media, and sculpture. Students are expected to explore ideas, materials, and processes, and to engage in critical dialog with the faculty… Read More »

Everybody Wins

Posted On September 15, 2009 0 Comments

It has never been easy to make a living through handmade ceramics, whether you’re an artisan, a gallery owner, an arts center, or a school. Here is an example of how all four constituencies came together
to promote the art and culture of their region. The trick? It would
need to be economically feasible and advantageous for all parties, to
expand the potential audience for everyone involved, and benefit those
participating in a way otherwise not achievable. In short, it would
require a lot of creativity and cooperation.

Lydia Thompson: Promises

Posted On September 15, 2009 0 Comments

A field of blooming cotton under a blue sky can be dazzling, even
disorienting as its snowy appearance conjures associations radically at
odds with the dry heat of a summer day. This curious confounding of the
senses is perhaps only fitting, since cotton is enveloped by other,
more troubling, contradictions as well. Fleecy white cotton bolls are
visually and tactically among the most appealing of all natural forms,
and there is little wonder that an artist should find them formally
inspiring. To the eye, what could better exemplify purity?

Daniel Johnston Dreams Big

Posted On September 15, 2009 0 Comments

Daniel Johnston does not blush about his humble beginnings, nor will he turn his back on the historical influences that shaped who he is today. In fact, by way of introduction, he insists on announcing his genealogy in clay. “I have been trained in the Leach, Cardew and Hewitt school of making pots,” his artist statement and our interview begin. Bernard Leach is widely recognized as the grandfather of studio pottery in the United States and Michael Cardew was Leach’s student. From 1997 to 2001, Johnston apprenticed with Mark Hewitt, a student of Cardew’s. As Johnston began to navigate from 
these influences toward a voice of his own, an additional triumvirate of geographical influences came together: England, Thailand, and North Carolina.

ceramic artist patsy cox in her los angeles studio

Studio Visit: Patsy Cox, Los Angeles, California

Posted On September 10, 2009 1 Comment

My favorite aspect of the studio is that it is in the middle of the city hustle. It has good lighting with a view of my succulent collection, the inspiration for much of my work. However, the studio plays only a small part in my creative process. Because the majority of my current work is installation-based, it relies on the process of installing the work in a specific space. In other words, I see my work as being created in a studio without walls.

Tyler School of Art, Temple University: From Ceramics Monthly’s “MFA Factor” series

Posted On August 13, 2009 0 Comments
Tyler’s philosophy emphasizes the investigation and articulation of concepts leading to a high level of personal inquiry, resulting in work that challenges and extends the traditional boundaries of the media and their accepted definitions. Students have access to state of the art facilities and tools while enjoying an interdisciplinary education. The program provides weekly contact… Read More »