Ceramics Monthly Articles (Simple)

First, I want to say that I hope everyone is safe and healthy, and that the same is true of your loved ones. The entire staff is thinking of all of our fellow members of the ceramics community during

The Cahokia represented one of the most social and political peoples of prehistoric North America. It is through their pots that we learn how these early people lived and thrived on the fertile land n

Janvier and Gustaf Miller reflect on their decades-long careers working in clay, sculpture, and painting, from longevity to shifts in focus.

Information on submitting work for exhibitions, fairs, and festivals.

Dedicate some time this summer to learning new techniques and interacting with other artists at a workshop. We’ve gathered information on opportunities all over the US and abroad in this annual guide.

Lisa York and Trevor Youngberg share recipes that they use on their wood-fired vessels.

A slotted firebrick for firing flat test tiles and a wooden rack for handling them outside the kiln function in tandem to keep glaze tests organized in this potter’s studio.

You may know about crystalline glazes, but are you aware of microcrystalline glazes? These consist of smaller crystals with subtle changes in surface color and texture. And, the best thing is they don

Foundational experiences from Carly Slade’s upbringing in a blue-collar family that valued hand work pervade her sculptures, which focus on vehicles and architecture in working-class communities.

A combination of lost access to gas kilns due to a studio closure and limited funds led Boris Robinson to build a DIY downdraft gas kiln using an old electric kiln. He shares the process and final des

Struck by the complexity of a cup given as a gift, Dick Lehman packed it away lest it influence him too much, and eventually lost track of it. The image he recalls of this vessel, however, has evolved

Meg Beaudoin had been working for 20 years as a psychologist and psychoanalyst when she took a ceramics class and immediately felt a connection with clay. After many more classes and workshops and a s

After moving frequently, both early in life and for his job, Graeme Anderson visited rural Lightning Ridge in New South Wales, Australia. Feeling a connection, he moved there permanently and started m

After setting up shop in industrial spaces in Minneapolis, Minnesota, then moving back to the East Coast and building kilns on friends’ properties so he could keep making work, Trevor Youngberg now ha

Group firings bring together potters to share in the labor and rewards of the kiln. As a guest, maximize the amount of work you can fit into another artist’s firing with these smart and considerate ti

Richard Rowland emphasizes the collaborative nature of working with clay with each project he takes on, from making mugs for cancer patients finished with treatment to creating a two-ton, wood-fired m

Images from Current and Upcoming Exhibitions

Unless you don’t fire the clay objects you make, at some point you have to decide what type of surface work best with your ideas. Kiln type and access are often major factors when artists develop a co

When throwing numerous open forms off the hump, the possibility of deformation is greatest at the moment of cutting the piece off the wheel and transferring it to a ware board to dry. To minimize this

After a long career in manufacturing, while making pots on the side, Monte Young moved from Minneapolis, Minnesota, to Jasper, Indiana, to be closer to family. The move also gave him the opportunity