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Ceramics Monthly




CM0290

Ceramics Monthly: February 1990

Posted On February 1, 1990 0 Comments

Artist-in-residence Graham Marks in his studio at Cranbrook Academy of Art, Bloomfield Hills, Michigan.

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CM0190

Ceramics Monthly: January 1990

Posted On January 1, 1990 0 Comments

Teapot, 9¾ inches high with cane handle. Lizella clay (indigenous red stoneware), with equal parts nepheline syenite and Gerstley borate glaze, fired to Cone 9 in oxidation. The piece was made by Atlanta potter Rick Berman.

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CM1289

Ceramics Monthly: December 1989

Posted On December 1, 1989 0 Comments

Wayne Higby and a “landscape bowl” nestled in hay (his raku fuel of choice). The wooden, lidded box is a chamber he built specifically for post-firing reduction.

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CM1189

Ceramics Monthly: November 1989

Posted On November 1, 1989 0 Comments

Nancy Selvin surrounded by dozens of slip-cast ceramic eggs in her California studio; her story about the major influences affecting her artistic development begins on page 47.

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CM1089

Ceramics Monthly: October 1989

Posted On October 1, 1989 0 Comments

Bruno La Verdiere with works in progress and “Lake Shore Guardian,” left, solid stoneware to to 9 inches thick, stained black. His story about the major influences he encountered on the path from a monastery to his own private studio begins on page 22.

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CM0989

Ceramics Monthly: September 1989

Posted On September 1, 1989 0 Comments

Salt-glazed jar, 11.5 inches in height, wheel-thrown and paddled stoneware, partially coated with white slip, by Warren MacKenzie. Since the early 1950s, Mac Kenzie has responded to the “essential need for functional pots at affordable prices.”

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CM0689

Ceramics Monthly: June/July/August 1989

Posted On June 1, 1989 0 Comments

Barbara Miner has “made all the mistakes you can think of,” yet she still feels very positive about operating her own craft business.

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CM0589

Ceramics Monthly: May 1989

Posted On May 1, 1989 0 Comments

Brook Le Van at the Omaha Brick Works, where he purchases pallets of freshly extruded pavers for constructing sculpture. “Instead of using a lump of raw clay, assigning a particular meaning to it and then building something, I start with a brick, an object that can metaphorically represent something, like ‘shelter'”.

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CM0489

Ceramics Monthly: April 1989

Posted On April 1, 1989 0 Comments

Building a wood-fired kiln with Doug Casebeer (top) at Appalachian Center for Crafts near Smithville, Tennessee, challenged workshop participants with “total involvement.”

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CM0389

Ceramics Monthly: March 1989

Posted On March 1, 1989 0 Comments

Pennsylvania artist Paula Winokur with “Entry I Sakkara,” a porcelain doorway installed at Helen Drutt Gallery, New Your City. 

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