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From the Editor: October 2021In this issue, we cover the topic of galleries with a behind-the-scenes perspective, discussions on the ways artists get selected for representation or exhibitions, and, artists’ thoughts on how they promote and sell their work. -
PJ Anderson: A Happy WarriorIn order to learn about traditional craft and pottery-making techniques, PJ Anderson studied Indigenous processes in South Africa and New Mexico. -
(Im)BalancePresented in this issue are works by 16 finalists that capture the dual theme of this year’s readership-wide contest. Through -
Editor’s Note: PotluckIf you are looking for inspiration, the projects and techniques in the following pages have you covered. This issue delivers -
In the Studio: Pricing ArtworkEverything comes with a price tag, including artwork. The artistic process is built on skills, education, experience, and creativity, all -
Spotlight: A Level of AlchemyMichelle Im’s current body of earthenware vessels grew from a cause-and-effect relationship between clay body and building process. Imagery from the natural world and Korean Buncheong ware inspire the -
Call for Entries: September 2021Deadlines for exhibitions, fairs, and festivals. -
Recipes: FoundationsJennifer Graff and Wayne Perry share recipes for clear glazes and slip they use to finish their work. -
Tips and Tools: Cone Packs for Wood KilnsCones are key in gaining insight into a kiln firing. How you assemble cone packs and where you place them are crucial for success. -
Techno File: Copper Red NanoparticlesCopper carbonate plus a precise firing schedule can produce a vibrant, crushed-strawberry-like red glaze in reduction firings. But did you know the same result can happen in oxidation firings too? -
Christine Nofchissey McHorse: Tradition and ReinventionOver the course of her decades-long career as a ceramic artist, Christine Nofchissey McHorse made vessels with influence from the Taos tradition and later turned to making sculptures. -
Lane Chapman: A Powerful TouchLoose handbuilt forms in red stoneware become the substrate for layered slips, animal imagery, and accents of glaze. -
Elbow DeepWayne Perry addresses pervasive social issues including inequality and racism with humble terra-cotta clay as his material of choice. -
Studio Visit: James Watkins, Lubbock, TexasIn 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 -
Clay Culture: Archeometrists and ClayIn 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 -
Clay Culture: Madrid’s Street SignsThird-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. -
Exposure: September 2021Images from Current and Upcoming Exhibitions -
Quick Tip: Repurposing Kiln StiltsI’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 -
From the Editor: September 2021The 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 -
Spotlight: A Sense of CalmSince 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.
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