Ceramics Monthly, June/July/August 2012
Mostly, it’s because I think it’s just so satisfying to make use of what is at hand. I enjoy the labor of it; the physical effort required to change one object into raw material for the creation of another object is transformative not only for the material, but for my understanding of how the world fits together, of how many things we take for granted. —Sherman Hall, Editor
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We are all unsung in some way, just as we are lauded in others. And we will likely never be able to properly thank those who have been instrumental in guiding us, supporting us, and helping us realize our true potential. But remember, that’s not why they helped us in the first place, and the best way to acknowledge that assistance is to internalize that lesson of support and realize that you have tools that others need, whether it’s time, experience and expertise, advice, money, space, or perhaps just the acknowledgement of someone’s struggle along their own creative path. We work in studios, not in vacuums. —Sherman Hall, Editor
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We need passionate newbies; we do, in fact, want them to be fired up about clay. But once they are interested, and we have them in our clutches, and they have learned a subtle thing or two about the wonders of clay, then I think it is reasonable to expect that their vocabulary and manner of dialog reflect their level of knowledge—which is to say that they move from being fired up to becoming stoked, or centered (well, maybe not centered—that takes quite a while). —Sherman Hall, Editor
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Many artists find themselves overcoming issues far more complex than sagging plates, and the creative process that is wrapped up in material, form, and technique is at the center of this kind of problem solving. —Sherman Hall, Editor
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Ceramics Monthly, February 2012
Throughout the process of trying to make something new in the studio (a new rim on a plate in hopes that it will catch a runny glaze just right, a new foot on the bowls so they lift up rather than sit down), I cannot help but compare it to the development of ideas for a new column in the magazine. —Sherman Hall, Editor
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Ceramics Monthly, January 2012
As we head into the 60th volume year of Ceramics Monthly, we look back at what was, realize how far we have traveled, and look forward to what will undoubtedly be an exciting year in studio ceramics. —Sherman Hall, Editor
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Ceramics Monthly, December 2011
Has anyone ever said to you, “I’m not artistic; I can’t even draw a straight line,” and you look at them a bit sideways because first of all that’s what rulers are for and second, being artistic is like everything else: effort, sweat, and practice are what produce good results, not talent. —Sherman Hall, Editor
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Ceramics Monthly, November 2011
There are so many new things like that happening all the time in ceramics, and we try to keep up on as many as we can, but there is only so much we can put in this magazine. —Sherman Hall, Editor
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Ceramics Monthly, October 2011
Ceramics will not cure the world of its many ills, but its the hammer I have, so I’ll go looking for nails to pound with it. —Sherman Hall, Editor
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Ceramics Monthly, September 2011
Routines can be tools of self-preservation in the studio, but it’s important to shake them up sometimes as it forces you to apply your knowledge and problem solving skills in a different way. —Sherman Hall, Editor
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