Ceramics Monthly Articles (Simple)

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

In addition to the matte and specialty glazes explored in her article, Alisa Liskin Clausen also tested a handful of glazes with names that promised interesting results. Here’s what she found.

Neil Estrick shares his go-to clear recipe and Paul Wisotzky provides two of the glazes he layers using precision-cut sponge stamps.

Cutting-edge fabrication tools have upgraded this potter’s production of the sponge stamps he uses to apply glaze and wax resist to surfaces.

As ceramic artists we commonly focus more on the colorants than the other ingredients in a glaze recipe. But, maybe we should also be paying attention to kaolin’s effect on clear glaze bases, causing

Edna Oliver makes ceramic sculpture that is meant to be touched and heard, as well as seen. Her biomorphic forms spark creativity and playfulness as articulated joints enable viewers to alter their st

An exhibition at the Los Angeles County Museum of Art in Los Angeles, California, explored the topic of animals as subject matter in Japanese art from the 6th century to the present, and how those dep

Alisa Liskin Clausen shares the fired results of testing six matte base glazes from the Ceramics Monthly archives and numerous color variations and identifies some of the key ingredients that explain

Jill Giller’s early experiences as a student teacher in the Navajo Nation’s Rough Rock Demonstration School led her to forge lifelong friendships and professional relationships with Native American ce

A lack of established guidelines for standard workshop compensation in the US makes it difficult for both artists and institutions to negotiate equitable pay. Kristen Kieffer aims to change that by st

Brian Somerville has acquired quite a few skills through his experience as a sculptor and through various building-focused jobs. Now, in addition to making his large-scale figures, he has put his spec

The team of artists at Heath Ceramics’ experimental clay studio talk about the creative opportunities and responsibilities that are involved in transforming new ideas and designs into finished forms.

Efficient upgrades of her workspace, solar panels to provide electricity, and a post office within biking distance have allowed Lucy Fagella to make her everyday studio practice more sustainable.

A group of potters came together to create an affordable group studio for ceramic artists in Honolulu. Since its inception, the guild has adapted to meet members’ needs, grow the community, and distri

The most efficient way to pack and transport ware to and from sales and fairs for each maker is usually determined by trial and error. Neil Estrick describes his preferred methods, as well as the fact

Images from Current and Upcoming Exhibitions

The Japanese also named a delicate little potter’s tool after it that is used to gauge the depth and width of a wheel-thrown piece of pottery and facilitate throwing multiple forms of the same size. M

This issue approaches the business side of ceramics from a number of angles. After all, artists’ experiences, skill sets, locations, and goals vary as widely as the objects they make.

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

For Mike Helke, self-assigned limitations on process, tools, and time in the studio served to generate ideas and questions in his creative practice.