cover: Blue Foul, 8½ in. (22 cm) in height, by Gillian Parke, Durham, North Carolina. Photo: Seth Tice-Lewis.

Focus: Technology

Whether you’re talking about the pottery wheel or a rapid prototyping machine, a pit in the ground or a tunnel kiln, technology is closely tied with the production of ceramic objects.

 

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In this issue:



The New Factory
by Andy Brayman

From mass production to mass customization, new technologies always impact the practice of established technologies, even-perhaps especially-those associated with the handmade object. But that’s not necessarily bad.

   

Combining Histories: Make, Mill, Print, Adjust, Repeat
by Steven Thurston

Using high-tech industrial applications in a studio setting allows rapid development and alteration of form. Combining these experiments with historical forms and processes creates a dialog and possibilities for content that were previously not available.

   

The Printed Pot
by Mark Ganter, Duane Storti and Ben Utela

Three mechanical engineers print three-dimensional objects in clay, and they share their process and recipes.

   
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The Moment at Hand

It’s easy to forget that studio ceramics and industry have a long history together. The Kohler Company has opened its factory floor, including factory processes, to artists for 35 years, resulting in new directions for individual studio work.

   

The Contrasts of Gillian Parke
by Kathy Norcross Watts

Combining materials, decoration and techniques from various cultures and historical periods allows a potter to explore the idea of harmony within contradiction.
monthly methods Throwing with Feldspar Inclusions by Gillian Parke

   

Ben Ryterband’s Childhood Memories and Worldly Influences
by Barbara Rizza Mellin

Playfulness and sophistication meet in works that explore the physical and metaphorical territory between vessel and sculpture.

   

Following Theseus: The Sculpture of Arthur Gonzalez
by D Wood

A linear approach to making figurative work does not necessarily result in a linear narrative, but rather questions a viewer to develop his or her own narrative.

   

MFA Factor: Penn State

Not every big football school is also a ceramic powerhouse.

   
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