Ceramics Monthly Articles (Simple)

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.

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

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

Need a place to make work and make connections? Need a change of pace or scenery? Need some focused studio time? Apply for a residency!

Morean Center for Clay's 2018–2019 resident artists and Seth Guzovsky, one of Shockoe Bottom Clay's gallery artists, share recipes they use on their pots and sculpture.

This simple clay body is just as suitable for student work as it is for the forming, firing, and post-firing demands of elaborate figurative sculptures.

Learn how to rid bisque-fired surfaces of residual underglaze or stain after inlaying processes with a common household cleaner—the Magic Eraser.

Turning the terra-sigillata making process on it’s head, Tom Anderson has found a way to use temperature to eliminate time, and get a better yield.

Once you’ve made a large, fragile ceramic sculpture, how do you get it from point A to point B? Richard W. James explains his approach to crating and outlines the supplies, tools, and logistics it tak

Gerardo Monterrubio creates sculptures whose forms and surface imagery exemplify blended cultures and depict the accumulated nature of culture. His dynamic pieces combine layered references to persona

Framed through a number of works on paper and ceramic sculpture, Christopher Staley’s recent exhibition presents an investigation and archive of movement and form.