Ceramics Monthly Articles (Simple)

Historical allusion in ceramic form—whether spawned by desire to garner the prestige of predecessors through association (as in Neoclassicism) or by a less-calculated admiration for venerable objects—

Planning a wood firing? Shocked by the price of wood? Check with your local dump, arborists, and cabinet makers to see if they can help out. I am the Artist Programming Manager at the Morean Center fo

Kilns are vented primarily to protect the health of people around the kiln. An additional benefit is that a vented kiln produces cleaner firings, ultimately contributing to brighter glaze colors and f

Within the ceramics ecosystem, something quite extraordinary happened last June in Toronto, Canada. Five Korean Masters—Kim Seong-Tae who specializes in five-layered slip carving; You Yong-Chul, renow

The library, named after a beloved retiring professor, was born through a St. Olaf College Collaborative Undergraduate Research and Inquiry (CURI) project, which provides opportunities for students fr

Our studio is built under our hillside home in San Anselmo, California. It runs east to west across the width of the house and has a separate entrance. There are three levels as it steps down the hill

Waste vegetable oil (WVO) can be used in kiln firings as a sustainable and renewable alternative to petroleum-based fuels. An effective delivery system is relatively simple to make with common materia

When working with clay, as with other mediums, many of the most interesting techniques arrive unexpectedly. This was the case with Steve Kelly’s deceptively simple etching technique, born of a desire

Greening a small-scale production studio is easier than you think! Here are several simple steps you can take to lower your carbon footprint as well as your bills for materials, electricity, and water

Images from Current and Upcoming Exhibitions

With its diverse array of objects and aesthetics, “Reshaping Tradition” (on view in 2016 at the USC Pacific Asia Museum (www.pacificasiamuseum.org) in Pasadena, California) offered a view of contempor

In this issue, we look at a number of ways artists have pursued leaner, greener studio practices along with investing in a community and building an audience. Pursuing and, perhaps more importantly,

I first noticed Mahima Singh’s work on the Pottery Northwest (PNW) kiln-room shelves. I was halfway through my residency there, and unloading a kiln one morning to make room for my firing later that d

Marek Cecula, long a mainstay of the contemporary New York City ceramics scene when he was head of ceramics at Parsons School of Design for 21 years, left New York in 2004 and now lives in his native

Sumiko and Kaname Takada share the clays, slips, and glazes they use on their earthenware and stoneware bodies of work.

For me, both bodies of artwork are equally satisfying because they feed off of and inform each other. They both offer me what I need in my studio practice in regards to research and inspiration.

I was in the room when Chicago-based artist Theaster Gates delivered his keynote speech at the National Council on Education for the Ceramic Arts (NCECA) conference in Milwaukee, Wisconsin, in 2014. A