Ceramics Monthly Articles (Simple)

Wayne Perry addresses pervasive social issues including inequality and racism with humble terra-cotta clay as his material of choice.

In a three-part space split between wet-work studio, glazing and firing area, and gallery, James Watkins creates and displays large coil-built vessels, drawings, and pictorial tiles. Each piece draws

In order to better understand ancient civilizations, scientists study the physical and chemical properties of ceramic artifacts. They use a variety of non-destructive methods, from X-ray tomography an

Third-generation Spanish ceramic artist Alfredo Ruiz de Luna González created 1500 ceramic street signs, employing traditional processes and capturing the visual character and history of the city.

Images from Current and Upcoming Exhibitions

I’m a fan of using tongs for dipping smaller pieces in glaze. I appreciate the benefits of a consistent glaze coating applied in one swoop, ease of handling, no finger marks, and virtually no touch up

The long history of making objects out of red clay as well as the almost equally long history of firing at low temperatures has produced innumerable technical, aesthetic, and conceptual explorations b

Since being featured as a Working Potter in 2014, Yasha Butler has shifted the focus of her studio practice to minimalist sculptural vessels that quietly function in physical and digital spaces.

Deadlines for exhibitions, fairs, and festivals.

Working Potters Natasha Alphonse and Terry Plasket share recipes for high-fire glazes they use on their functional work.

Cement board is a great option for covering work surfaces in the ceramics studio. Durable, porous, and inexpensive, this substrate is key in the efficient workspace of potter Catie Miller.

From hardness to source, there are many misconceptions and questions about the water used to make clay, slips, and glazes. Turns out, regular tap water is generally just fine.

Deliberate work over a few years allowed Steven Showalter to synthesize his influences and aesthetic preferences into a distinctive personal style. He shares the techniques he uses to make square-rimm

Questions about return on investment and pandemic-curtailed event schedules led Kentucky-based artist David Kenton Kring to shift from selling work at art fairs to earning most of his income from onli

After moving for her studies and traveling widely, Shannon Garson set up her studio in her hometown of Maleny, Queensland, Australia. Her diversified practice includes tableware, exhibition work, teac

Creating work in small batches—as opposed to monolithic production lines—suits the working cycle and perpetual creative spark in Natasha Alphonse’s studio practice in Seattle, Washington.

Australian potter Pru Morrison offers advice on gallery selection and patience—both of which have been learned by experience during her 21-year career as a full-time artist.

Daily bisque firings, demonstrations for curious visitors at Wheaton Arts and Cultural Center in Millville, New Jersey, and the limitless potential found in making pots are the norm in Terry Plasket’s

Working as full-time artists grants freedom and flexibility to Drew Darley and Erika Novak, who make pottery individually and collaboratively as Round Trip Clayworks in Avon, Connecticut.

Jono Pandolfi and his team create utilitarian tableware for the hospitality industry and direct-to-consumer retail clients. The 7500-square-foot open-plan studio is organized so that clay comes in one