Terra-cotta column, 7 feet in height, plus smaller stoneware sculpture and a modular doorframe, installed in the courtyard of the Sangallo Fortress in Civita Castellano (Viterbo, Italy), by Nino Caruso.
Slip-decorated red earthenware platter, 25 inches in diagonal width, clear amber glazed, by Everette Busbee.
Porcelain gourd vase and medallion platters (circa 1900-1904) by Taxile Doat, an artist-potter famous for his work at Sèvres.
Terra-cotta warrior, 8 inches in height; even after 1100 years, the maker’s fingerprints are visible on the earflares and headdress. Recent analyses of Maya ceramics have disclosed not the peaceful star-gazing culture once perceived by wishful historians, but instead a society preoccupied with blood, the supernatural and ritual sacrifice.
Texas potter Gary Hatcher realized his dream of firing “for the cost of labor” with a large, efficient, wood-burning kiln.
Robert Arneson in his California studio.
“Untitled Antelope Jar,” thrown and handbuilt porcelain and stoneware, with gold and lusters, on a raku base, 22 inches in height by Adrian Saxe, recipient of a $15,000 National Endowment for the Arts Visual Artists Fellowship.
Thrown porcelaneous stoneware bowl, approximately 13 inches wide, with saturated-iron and ash glazes, by California potter Neil Moss.
“Self-Portrait #7 (Drip Face),” 15 inches in height, assembled from raku-fired slabs, acrylic-painted clay “sticks,” low-fired slabs with silk-screened underglazes and found objects (a Czech terra-cotta shard “cheek” and a seashell “eye”), by Bill Abright.