Ceramics Monthly Articles (Simple)

This technique will help you keep your neat rim safe and also help keep it perfectly round.

As artists, gallery goers, and collectors (budding or otherwise), little compares to viewing work in person. This issue focuses on all things exhibition.

The artists and stories shared in this issue have a similarly strong connection to something specific about the clay itself, which steers their interest, research, and practice.

For us potters, it’s nice to have any tips or tricks to make the throwing process easier on our bodies.

Inspired by the lines of Mid-Century Modern design and the Streamlining era, Ray Brown constructs vessels that are refined yet energetic.

Current and Upcoming Exhibitions

Shikha Joshi experimented with techniques, including the use of wild clay, to mimic the surfaces of an atmospheric firing, resulting in unique, complex, and varied pottery finishes.

This year, our readership-wide contest features ceramic works that encourage celebration, gathering, or marking a special occasion.

Daniel Shapiro’s converted 1912 carriage house in the Compton Heights neighborhood of St. Louis serves as a creative space where family life and his studio practice intersect seamlessly.

With over 50 years of experience working with ceramics and mold making, Jonathan Kaplan shares an extensive guide to all things slipcasting in the recent book, The Mold-Making Manual: The Art of Models, Molds, and Slip-cast Ceramics.

Working at a variety of scales, James Oughtibridge creates abstract sculptures in raw clay characterized by fluidity and movement.

Deadlines for exhibitions, fairs, and festivals.

Make an underglaze stamp pad using a small container, quilting foam, and underglaze to add repeatable designs to your surface repertoire.

Brittany Mojo makes ceramic objects that investigate concepts of women’s work, grief, play, and the in between in a practice that pairs material exploration and reflection through writing.

Since José Sierra’s Ceramics Monthly Working Potter feature in 2017, his work has become more sculptural, larger in scale, and, after returning to New Mexico, especially influenced by the spirituality of the high desert.

Why go to the effort of calcining your kaolin? If your glaze or kiln wash recipes contain too much uncalcined clay, the glaze may crawl and the kiln wash could crack off.

The recipes shared below from Ray Brown and Maya McNicoll work in the potters’ practices to develop layers of surface information for functional, visually compelling pots.

Current and Upcoming Exhibitions