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Ceramics Monthly




CM0287

Ceramics Monthly: February 1987

Posted On February 1, 1987 0 Comments

“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.

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CM0187

Ceramics Monthly: January 1987

Posted On January 1, 1987 0 Comments

Thrown porcelaneous stoneware bowl, approximately 13 inches wide, with saturated-iron and ash glazes, by California potter Neil Moss.

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CM1286

Ceramics Monthly: December 1986

Posted On December 1, 1986 0 Comments

“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.

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CM1186

Ceramics Monthly: November 1986

Posted On November 1, 1986 0 Comments

Since moving six years ago from his Aylesford studio to a small workspace in London, British potter Colin Pearson has, after 25 years of reduction firing, been making pots adapted for a small electric kiln.

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CM1086

Ceramics Monthly: October 1986

Posted On October 1, 1986 0 Comments

Porcelain bottle, approximately 14 inches in height, with glaze, overglaze and luster decoration, by Japan’s “living national treasure,” Nodo Fujimoto. Not the stereotypical Japanese master, this artist explodes the myth that artists cannot be good at other, seemingly diverse careers while also maintaining a quality studio life.

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CM0986

Ceramics Monthly: September 1986

Posted On September 1, 1986 0 Comments

Flattened, wheel-thrown stoneware bottle, 8.5 inches in height, with slip-filled rope impressions and glaze brushwork, by mingei (folk art) potter Tatsuzo Shimaoka of Japan. 

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CM0686

Ceramics Monthly: June/July/August 1986

Posted On June 1, 1986 0 Comments

Washington ceramist Anne Hirondelle works in a 10×14 foot studio efficiently equipped with an electric wheel, extruder, worktables, storage shelves and a wood stove. With a career that moved from production stoneware to raku-fired clay drawings to acrylic constructions, she has returned to making vessel-oriented stoneware.

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CM0586

Ceramics Monthly: May 1986

Posted On May 1, 1986 0 Comments

Folk pottery is still being made all over the world. But because its spontaneity is often confused for crudeness, its function challenged by plastic, stainless and enameled ware, it’s slowly dying everywhere – from industrialized countries like Japan to Third World nations like Nigeria. Folk pottery (such as this bean pot, 8 inches in diameter, thrown from local earthenware, charcoal fired unglazed, by W. Hardin, Chalky Mountain, St. Andrew’s Parish, Barbados) is so closely tied to its social context as to be incomplete standing alone in some museum, or even on a magazine cover. This month we look intimately at one context of folk pottery (in Japan) with anthropologist Brian Moeran.

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CM0486

Ceramics Monthly: April 1986

Posted On April 1, 1986 0 Comments

“Green Umbra,” approximately 4 feet in height, handbuilt low-fire buff clay, fired and painted with acrylics, by Beverly Mayeri.

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CM0386

Ceramics Monthly: March 1986

Posted On March 1, 1986 0 Comments

Even from a distance you can smell the aroma of wood smoke as tall flames rise quietly from the flue of the 56-foot-long anagama (a Japanese-style tube kiln) at Peters Valley, a crafts community occupying land leased from the National Park Service. After the flame recedes, another load of split oak will be stoked. The cycles of stoking and waiting continued throughout the nearly five-day period in this kin’s first firing to be led by westerners.

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