Ceramics Monthly Articles (Simple)

The slip and glaze recipes shared below, used in wood and soda firings, yield surfaces rich with depth, interest, and flashing.

Using careful, tested methods, Jonathan Kaplan has successfully packed and shipped ceramic art for decades as an artist and gallerist.

One of the most alluring reasons for firing in an electric kiln is the reliability one can have with a broad spectrum of available colors.

Michael Hurley describes the lasting impact of years working in the studio of Jun Kaneko.

In order to achieve cohesive, fluid vessels, Liz Mazurek throws luscious porcelain on the wheel then alters each piece with pushing, darting, shaping, and refining. Intentional application of glaze encourages flashing and dripping.

Combining digital technologies with traditional ceramic materials and techniques allows Leora Honeyman to construct sculptural pieces that push formal and conceptual bounds.

POT opened its doors in 2017 in Echo Park, Los Angeles, as a welcoming, accessible ceramics studio operated by and for people of color.

Working collaboratively as Future Retrieval, Katie Parker and Guy Michael Davis source inspiration and reference from museum archives to create installation-based works that examine craft, history, and collection.

The Ceramic Materials Altas (CMA) provides insight into the origin and processing of raw materials used in ceramics.

Donovan Palmquist and Colleen Riley share a thoughtfully built, modern studio space dedicated to their respective practices.

East Creek Art, a ceramics retreat in Oregon, was saved and revitalized by Joe Robinson in 2015, transforming it into a thriving hub for wood-fired ceramics, workshops, and community collaboration while preserving its historic anagama kiln.

Current and Upcoming Exhibitions

If you struggle to keep greenware at a workable level of dampness when doing finishing work, I have a great tip for you. Seasonal or studio warmth can dry pieces too quickly, especially if you are doing intricate carving.

The artists and groups shared in this issue demonstrate the benefits of taking a collaborative and collective approach to clay.

The following recipes from the Ceramics Monthly archive provide ample opportunity for experimenting with wood-fired surfaces.

Kari Woolsey’s recent work, inspired by still-life paintings and her background in pottery, explores domestic spaces and everyday objects through clay drawings and multi-media collages.

Deadlines for exhibitions, fairs, and festivals.

All you need to create a simple, budget-friendly slump mold is cardboard, a knife, a produce box, and gravity.

As the ceramics world shifts toward lower cone firings and alternative fluxes, the Stull chart becomes less relevant, prompting artists to use their experience to interpret glaze behavior outside its boundaries.