Three red earthenware goblets, approximately 5, 7 and 6 inches in height, tin glazed with on-glaze brushwork. The form on the right illustrates the reduction-fired copper and silver luster decoration for which Alan is most widely known. This ceramist is the subject of an article beginning on page 33.
White porcelain bottle with underglaze blue decoration, Yi dynasty (late 18th century A.D.), 14 inches in height. This form was among 345 objects presented in “5000 Years of Korean Art,” at the Asian Art Museum of San Francisco. Organized by the National Museum of Korea, other works in the show are presented in an article beginning on page 91.
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.