November 2010 • Table of Contents

Focus: Studio Tours

CM looked into why studio tours work (when they work) and why they may sometimes not work. We polled the organizers and participants of twelve studio tours to ascertain their best practices, their successes, and their downfalls. The good news is: it's mostly good news!

On the cover: Platter with abstract floral painting, 14 in. (36 cm) in diameter, with wax-resist brushwork and Iron Saturated Alkaline Frogskin Glaze, by Matt Jones, Leicester, North Carolina. Photo: Tim Barnwell.

In This Issue

Open Door Policy: The Emergence of Studio Tours
The Value of a Studio Tour by Robert Briscoe
Survey Says results from the CM studio tour questionnaire
Speaking from Experience best practices and advice on studio tours from potters
Seriously Playful: The Pottery of Matt Jones by Katey Schultz
Rimas VisGirda: A Higher Plane
by Glen R. Brown
MFA Factor: University of Massachusetts, Dartmouth
Terri Kern: Depth by 1000 Strokes
by Gil Stengel
Studio Visit: David Packer, New York, New York


Tips and Tools
Recipes: Glazes using local materials and crushed bottle glass.
monthly methods The Crusher by Matt Jones
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