As part of our Working Potter series, successful potter Kathryn Finnerty shares her approach to the handmade pottery business.
Barbro Åberg’s abstract paper clay sculptures hint at ancient language, astronomy, and biology.
Focus: Community Education
Don’t miss the results from our ongoing survey of those involved in teaching the community. We asked about classes, facilities, challenges, events, demographics, equipment, and several other factors affecting small community clay organizations.We also report on how a small organization can have an impact beyond their own physical reach.
Results from our ongoing survey of those involved in
“spreading the word”—that word being clay.
Two potters with well-established careers and reputations have been collaborating for almost three decades. An exhibition, book and DVD celebrate this partnership.
How does a small nonprofit ceramic art center make a large impact on its field and its community? Collaboration.
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.
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.
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.