Porcelain teapot, 8½ inches in height, thrown, with incised banding and copper red glaze, by Tom Coleman. The Canby, Oregon, studio potter was among a national selection of those exhibiting in :Functional Ceramics 1979,” subject of this month’s cover story beginning on page 70.
Curt Hoard decorates a large form with incising and underglazes on stage at the NCECA/SuperMud conference recently held at Pennsylvania State University, University Park. This, the largest gathering of ceramists in history, is the subject of Ron Lang’s article beginning on page 27.
“Flat Form,” contemporary porcelain work with carved relief decoration and clear celadon glaze, by German ceramist Karl Scheid. The object, approximately 7 inches in height, was represented in a recent exhibition by the London Group, subject of George and Nancy Wettlaufer’s article beginning on page 42.
Crackle glaze over stoneware body with dark slip, shown five times actual size, on contemporary Japanese Mashiko ware. The pattern of glassy fractures results from chemically controlled shrinkage differences between clay and glaze. Whether expressed in decorative effects such as this, or as a glaze fault, the causes and adjustments of thermal expansion rates are important to the potter or ceramic sculptor; these are discussed by Peter Sohngen, beginning on page 28.
“Ham Hockey,” incised ceramic form, 14x19x8½ inches, with lusters. One of the series of works depicting artifacts from an imagined Farmounian culture, by Art Morrison, Bozeman, Montana. According to the artist, “Little is known of the ‘true’origins of technique and ceramic fabrication used by by Farmounian artisan. We can only marvel at these monumental examples of Farmounian ceramic art…” Additional works by this artist, and Rudy Turk’s comments on contemporary ceramics begin on page 39.
One chamber in a large hill-climbing kiln at a pottery in Shigaraki (Japan), a town visited by hundreds of potters attending the World Crafts Council’s biennial conference. Mats have been spread on kiln shelves raised about a foot above the floor to convert the chamber into an environment for the tea ceremony. Because of the kiln’s massive size, it is fired but once every six months; thus the conversion does not impede production. Japanese potters sometimes set up a tea ceremony environment for their own enjoyment or for the selection of tea ware by patrons.
Glazed earthenware tile, 4 inches square, recent work reviving the tradition of Henry Mercer’s Moravian Pottery and Tile Works, now a living museum in Doylestown, Pennsylvania. The history and contemporary production of the pottery are subjects of this month’s portfolio, beginning on page 45.