We are, in effect, relaunching Ceramics Monthly. Yes, it will have a new look, including a new logo (what better way to signal a change?), but it will also have a renewed focus on the studio, and several new items of content to address that focus. Read the full Letter from the Editor.

 


on the cover: Core, sculpture made using the creamer form from the KAHLA “Matinee Collection.” Created during the KAHLA Kreativ InVenture workshop in KAHLA, Germany by Eva Aebi, (Switzerland). This and other works made in Kahla were on view through January 16 at the Grassi Museum of Applied Art in Leipzig, Germany. Photo: Gunter Binsack. Copyright KAHLA/ Thüringen Porcelain LLC.

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All That Glisters: Trudy Golley’s Exploration of Durable Luster Technology
by Paul Leathers

Ceramic sculptors and potters use lusters for all sorts of reasons, ranging from subtle accents for highlighting details to totally covered objects signifying over-the-top gaudy opulence. But none of these reflective metallic surfaces are terribly durable in the ceramic sense. Luckily, industry has figured this out, and while it can be expensive, durable luster is slowly becoming available on a smaller scale.

 

Ceramic Canvas: Using Substrates
by Robin Hopper

If you could have a flat sheet of ceramic material that is about 1 millimeter thick, is more durable than stoneware, shows no warping or cracking at cone 10, and will accept just about any ceramic surface treatment, why wouldn’t you use it? It’s not a matter of scientific limitation, it’s just that high-alumina ceramic substrates have not been readily available to studio artists—until now.


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InVenture at KAHLA
by Johannes Nagel

A porcelain factory in Germany that has a 250-year ceramic history invites twelve artists to occupy the factory and push the industrial technology past its everyday use to discover new possibilities, with the intent that the collaboration go in both directions.

Aesthetics and Environment, Kilns and Carbon
by Denise Joyal

A potter’s interest in atmospheric effects and concern for environmental impact leads her to research and define the actual carbon footprint of several different types of kilns. Some of the results are quite surprising.

with A Carbon Comparison Across a Full Complement of Kilns and Calculating Your Carbon Usage

MFA Factor: University of Georgia, Athens

A three-year program with a new 15,000-square-foot studio space.

Child’s Play? The Sculpture of Raymond Gonzalez
by Jarma R. Jones

Somewhere from among ideas of childhood innocence, adult relationships, and cultural nostalgia emerges a body of work that addresses the idea of play from multiple perspectives.

monthly methods Dying to Apply. How to dye monofilament for use with ceramic work.

Studio Visit: Brendan Tang
Kamloops, British Columbia, Canada

It’s tough to be an extrovert in a basement, but this sculptor proves it is possible.


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