Focus: Pottery and Industry

Most of us in studio ceramics see ourselves as separate from industrial ceramics. The differences are clear; “we” make things by hand and “they” don’t; we make one-of-a-kind objects and they don’t; we make limited, short-run lines of work for a relatively small audience, and they make large production runs for mass consumption. However, I would argue that there are more similarities than differences, and there is a whole lot of middle ground where industry and the studio overlap.—Sherman Hall, Editor

On the cover:8.5 Collection, to 15 in. (38 cm) in height, glazed porcelain, designed and introduced in 2008, by KleinReid (James Klein and David Reid).

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The Industry of Making Pots
by Donald Clark

In balancing the challenges of making and marketing, many potters have turned to industrial business models and processes while maintaining a high level of quality in design and production.

Going Industrial: The Expectations and Reality of Embracing Mass Production
by David Pier

A studio potter relates his experience in taking a design beyond his production capacity in order to get a more consistent income and more time for the studio-and life.

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From Personal to Universal: Marilyn Lysohir’s Good Girls 1968
by Glen R. Brown

An installation of busts pays homage to an artist’s classmates of 40 years ago, blending personal reminiscence with historical and cultural reflection.


Deborah Schwartzkopf: Full Circle
by Molly Hatch

Like a lot of potters just starting out, Schwartzkopf discovered that travel and relocation are part of establishing a reputation and a body of work.

monthly methods: Pots as Puzzles by Deborah Schwartzkopf

David Scott Smith: A Bricolage of Light
by Glen R. Brown

A sculptor constructs agglomerations of unrelated slip-cast objects in experimental combinations in order to encourage a sense of mystery and creative exploration, both in the making process and the finished work.

Brandon Reese: The Structure of Things
by John Zimmerman

Internal support systems, whether architectural, skeletal, or cellular, become the substance and outward representation of objects in the work of an artist exploring ideas of strength and weakness, frailty and stability, chaos and organization.

Studio Visit: Erin Furimsky, Bloomington, Illinois



In this latest installment of our Studio Visit department, Erin Furimsky shares her personal practice and insight into her career as a working ceramic artist.



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