Ceramics Monthly Articles (Simple)

  • Place and Identity: Gukki Nuka and Kristine Spore Kreutzmann
    These two Greenlandic artists share a focus on expressing their Inuit heritage through the forms and materials of their respective ceramic vessels, sculptures, and tile murals.
  • Andrew Matheson: Changing Focus
    After spending 40 years focused on form, Andrew Matheson has shifted to exploring a variety of decoration techniques on the surfaces of his blue-and-white and shino-glazed pots.
  • Boyan Moskov: Aesthetics Over Utility
    From the pit-fired surfaces of African pottery to the simple lines of classical Greek forms, Boyan Moskov harmonizes a range of influences to create minimal, dramatic sculptural vessels.
  • A New Sense of Freedom: Prue Venables
    Prue Venables’ nuanced and meticulous work stems from her experiences as both a musician and potter, her travels and observations of various cultures, and her focus on the way things interact.
  • Exposure: November 2019
    Images from Current and Upcoming Exhibitions
  • Clay Culture: More or Less
    From brown to bling, the spectrum of ceramic aesthetics—and possibilities—is vast, rich terrain at the disposal of artists of every generation working today.
  • Studio Visit: Ashwini Bhat, Petaluma, California
    A Bay Area studio in a community makerspace, complete with a boldly customized and branded kiln shed, serves as the workspace for sculptor Ashwini Bhat.
  • Clay Culture: Burnt Trunks
    On a spontaneous visit after noticing the handmade vessels that decorated Flatdogs Camp, Craig Hinshaw met Eness Ngulube, a Zambian potter who shared her practice and perspective on pottery in her com
  • Quick Tip: Installing with Magnets
    Hanging solutions are an important consideration before, during, and after the making of a piece. With work that is very thin or small, I adhere strong, neodymium rare-earth magnets to the ceramic, wh
  • From the Editor: November 2019
    When I was in graduate school at the University of Colorado, Boulder, I had the opportunity to learn about the work of Thomas Hirschler, a German ceramic artist who had taught there the year before I
  • Spotlight: Building a Foundation
    Chenango Valley Central School District teacher Andrew Fitzsimmons and his former student, Mark Gallo, discuss the importance of creating an atmosphere open to exploration in the high-school ceramics
  • Call for Entries: October 2019
    Information on submitting work for exhibitions, fairs, and festivals.
  • Tips and Tools: Soft Bricks
    Dislike the look of bulky plate stands? Lean plates and platters on a hidden, foam-covered brick for stability and protection from scuffing when photographing.
  • Recipes: Atmospheric Glazes
    2019 Ceramics Monthly Emerging Artist Scott McClellan shares his recipes for wood-firing friendly glazes and underglazes.
  • Techno File: Firing Programs
    Firing your clay pieces is as much a part of the process as the making. Learn which factors determine the best firing schedules for your work.
  • Gallery Guide 2020
    Want to find ceramic hotspots before traveling to a new city? Looking for inspiration or the next piece to add to your collection? Find venues that exhibit ceramic art in our annual Gallery Guide list
  • Journey Through the Seasons
    Joshua Winer’s practice came full circle to create a monumental mosaic capturing the four seasons of the New England landscape at the very school where he installed his first mosaic 18 years ago.
  • Full and Beyond Time: Sylvie Enjalbert's Coiled Pots
    A former mountaineer and paraglider, Sylvie Enjalbert started working with clay to fulfill a long-felt desire to work with her hands. Over a decade into her career as an artist, her quiet, coil-built
  • Making the Unseen Seen: Julia Galloway's Endangered Species Project
    Over 300 urns that are part of Julia Galloway’s Endangered Species Project were recently on view at Gallery 224 at the Ceramics Program, Office for the Arts at Harvard in Allston, Massachusetts.
  • Stoin M. Stoin: Vernacular Modernism in Clay
    Starting in the 1920s, an émigré potter honed the skills he learned in Bulgaria and started a career-long focus on simple forms, custom glazes, and the natural qualities of clay at various factories i