CM looked into why studio tours work (when they work) and why they may sometimes not work. We polled the organizers and participants of twelve studio tours to ascertain their best practices, their successes, and their downfalls. The good news is: it's
mostly good news!
On the cover: Platter with abstract floral painting, 14 in. (36 cm) in diameter, with wax-resist brushwork and Iron Saturated Alkaline Frogskin Glaze, by Matt Jones, Leicester, North Carolina. Photo: Tim Barnwell.
In This Issue
Open Door Policy: The Emergence of Studio ToursThe Value of a Studio Tour by Robert BriscoeSurvey Says results from the CM studio tour questionnaire
Speaking from Experience best practices and advice on studio tours from pottersSeriously Playful: The Pottery of Matt Jones by Katey SchultzRimas VisGirda: A Higher Plane by Glen R. Brown
MFA Factor: University of Massachusetts, DartmouthTerri Kern: Depth by 1000 Strokes by Gil StengelStudio Visit: David Packer, New York, New York
Departments
Letters Upfront Reviews Tips and Tools Recipes: Glazes using local materials and crushed bottle glass. monthly methods The Crusher by Matt Jones Call for Entries Calendar
