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on the cover: Trey Hill’s Navigating the Decline, 4.5 feet (1.4 m) in height, ceramic, underglaze, metal leaf, powder-coated steel, 2013. Photo: Louis Haybeck.

on the cover: Trey Hill’s Navigating the Decline, 4.5 feet (1.4 m) in height, ceramic, underglaze, metal leaf, powder-coated steel, 2013. Photo: Louis Haybeck.

I think that for most ceramic artists, some of this collected work reminds us of the maker, who is also a friend, mentor, or someone we’re inspired by (a.k.a. a ceramic crush). Some pieces are great for dinner parties, while others are our daily companions. As makers, I think we are so lucky to have this cross-over experience, of both understanding how something is created, and understanding the important role that handmade objects play. They make experiences and our environment special, they connect us to others, make us think, and inspire us in the studio.–Jessica Knapp, editor.


Read the full Letter From the Editor.


Subscribers can view this issue online!


Check out what else is in the October 2014 issue!






Subscriber bonuses for the October 2014 issue in the digital edition


Video_ButtonWatch a time-lapse video of Ronald Shaw’s Onggi wheel build, then check out his article in the October issue!


Bgodigital_buttonill Griffith, who shares his collection of studio ceramics with us in the October issue, demonstrated how he makes a handle-less pitcher in the December 2011 issue of CM. 


Check out this time-lapse video of Molly Hatch’s installation process for the hundreds of plates that make up her piece Physic Garden, on view at the High Museum.


godigital_buttonMore images: The digital edition of this issue doubles the number of images we have in the print edition for the articles on Trey Hill, Po-Wen Liu and Emily Schroeder Willis. There’s also an extra how-to article from Pottery Making Illustrated on Schroeder Willis’ work.



Online extras for guests

Sherman Hall discusses his simple tools for making glass cullet for use in glazes in the October issue. Don’t want to do the crushing yourself? Check out Matt Jones’ water-powered glass crusher instead.



Guests can read an excerpt of Bill Griffith’s article from the December 2011 issue. Check out the October issue for the whole article, and to learn about his experience as an artist/collector.




Check out all of the great content you’ll get in every issue: 

Ceramic Glaze Articles

Glaze articles, written by experts in the field, will help you understand ceramic materials and how they work together in your glazes. One example is “Atmospheric-like Effects for Electric Firing,” by Steven Hill, in which he explains his glaze recipes, application process, and firing schedule for achieving depth and interest in glaze surfaces.



Clay Culture

From makers committed to tradition to those launching ceramic practice into the future, we honor and highlight the ways that culture interacts with clay, both inside and outside the studio. From the kick wheel to the rapid prototyping machine, Ceramics Monthly presents the broadest view of current ceramic studio practice available. This inspirational story about Daniel Johnston’s 100 Jars project shows how all sorts of new ideas can work in contemporary and traditional ceramics.


Studio Visit

Since we can’t go visit all the potters and artists we would like to in real life, we present one to you each month. Each has a unique story and way of working. You’ll find their insights filled with practical and inspirational information you can use in your own studio. Pay a visit right now to Lorna Meaden, in Durango, Colorado.



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We showcase images of works included in current and upcoming exhibitions that you can go see right now! And because we know it’s just not possible to get out to see all the shows you would like to, we bring them to you in stunning full color every month. Stay up to date with best mix of what’s on view. And for full listings of exhibitions and other events, check out our online calendar.


Tips and Tools

Well, the name says it all, doesn’t it? We all love sharing the innovative, clever ways we solve problems in the studio, save time and resources, and make our work truly our own. Here’s a tip from a reader about how to deal with reclaiming clay in a small space.


Techno File

Our expert technical authors break down complicated issues between science and art so you can find your own success in the studio. Regardless of the type of work you pursue, there is a lot to know about how to successfully make ceramic art, and it seems there is always more to discover. Even some of the most common materials we use can present mysteries and surprises. Here’s one that’s called “All About Iron,” by John Britt that tells you—well, all about iron.



Our in-depth analysis of preeminent exhibitions provides great insights into the work of emerging and well-established artists. Our reviewers place both the exhibition and the works into cultural, historical, and aesthetic context, giving you background and tools to arrive at your own conclusions. A great example is a review by regular contributor Naomi Tsukamoto on two shows that feature Contemporary Japanese Teawares.



A conversation in print. Sometimes all it takes is one small idea to send you off in a direction of brand new discovery. And it’s often wonderful to discover that you have something in common with one of your clay heroes. Check out what Studio Khan discovered about breaking their work on purpose in “Fragile Function.”


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Receive ten jam-packed issues of Ceramics Monthly for only $34.95. And don’t forget that your subscription includes immediate online access to a year’s worth of issues, as well as our Ceramic Arts Yearbook and Annual Buyers Guide. We look forward to exploring the culture of clay with you.


Best Regards,









Jessica Knapp