Vol 43 No 2 Summer 2015

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The Studio Potter Centered in studio practice, The Studio Potter promotes discussion of technology, criticism, aesthetics, and history within the ceramics community. We are a non-profit organization celebrating over forty years of commitment to publishing The Studio Potter journal. We welcome hearing from potters, artists, scholars, and educators with special interests in writing and reporting on topics and events that matter in their personal and professional lives.

Armand Szainer, The Studio Potter Cover, Winter 1973/74, Volume 2, Number 2.

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Bits & Pieces

IN THIS ISSUE

THROWING BACK, FIRING FORWARD T

he Studio Potter is delighted to present you with this unique issue of the journal, Volume 43, Number 2. The design, by Zoe Pappenheimer, is based on our first few issues of the mid-seventies, complete with horizontal layout, duotone printing, and silk-screened cover. It nods to our roots and serves as an interim issue while we embark on a process of rebranding aimed at better serving our readership. Please help us understand more about what you’d like to see as a part of SP’s future by filling out and sending in the short questionnaire in the back of this issue.

Starting off this issue on “surface” is an interview with Donald Clark about The Marks Project. In his conversation with our editor, he lovingly remembers Candice Groot, a passionate supporter of ceramics and its artists, who died earlier this year. Candice founded the Virginia A. Groot Foundation in 1988 so that artists working in

three-dimensional media could devote themselves more fully to the development of their work.

As always, we bring you inside the lives of working potters with several personal narratives. Léopold Foulem offers an in-depth analysis of the ceramic works of Picasso, Amanda Barr addresses surface imagery as a catalyst for taboo conversations, and Eric Rehman writes poetically about anagama firing. We also have included a comprehensive discussion of Michael Cardew in a special section that includes four authors’ essays and portrait sketches by Matthew Causey.

We are pleased to publish an essay from Camila FriedmanGerlicz, a post-baccalaureate student at Colorado State University, about the Artstream nomadic gallery, which was featured in a sixteen-page article in Volume 33, Number 1, December 2004. For more reading on “surface,” check out the list of

recommendations from our authors.

For both veteran SP members and those new to the journal, we have some exciting news: we’ve just completed a full digitization of our back issues. Starting this summer, we are releasing each issue digitally, beginning with Volume 1, Number 1, Fall, 1972.

Members now receive a digital version of the current issue and access to the back issues completely free as a membership benefit through our digital distribution host, joomag.com.

In addition, digital subscriptions for libraries are now available through Ebsco’s digital distibution service, Flipster.

In other digital news: You may have noticed that studiopotter. org is currently hosted on tumblr.com. We are in the process of a major website overhaul and thank you for your patience as we work to bring you a new and improved online experience in 2016.

As an independent nonprofit organization, SP is launching a capital campaign to raise funds that will ensure our future service to the field. Our top priorities are to subsidize the cost of subscriptions, making SP more affordable and accessible to readers, and to create tenable staff positions that will serve our community through both professional development and quality publishing.

Please spread the word, and make a contribution at thestudiopotterjournal.tumblr.com/donate/.

ABOVE: Armand Szainer, The Studio Potter Cover, Winter 1974/75, Volume 2, Number 2.

The Studio Potter EDITOR Elenor Wilson ART DIRECTOR Zoe Pappenheimer CIRCULATION Ximena Kilroe COPYEDITOR Faye Wolfe PROOFREADERS Monique Desnoyers Donna McGee FOUNDING EDITOR Gerry Williams EDITOR EMERITA Mary Barringer CONTRIBUTING ADVISORS Michael Boylen Doug Casebeer Neil Castaldo Louise Allison Cort Steve Driver Leslie Ferrin Lynn Gervens Gary Hatcher Tiffany Hilton Doug Jeppesen Brian R. Jones Chris Lyons Mark Shapiro Julia Walther

EDITORIAL PO Box 1365 Northampton, MA 01061 413.585.5998 editor@studiopotter.org DESIGN Zoe Design Works zoe@zoedesignworks.com www.zoedesignworks.com PRINTING Penmor Lithographers PO Box 2003 Lewiston, ME 04241-2003 MEMBERSHIP PO Box 1365 Northampton, MA 01061 413.585.5998 membership@studiopotter.org INDEXING The Studio Potter is indexed by Ebsco Art and Architecture Index (ebscohost.com), and distributed to Libraries digitally through Flipster (flipster.ebsco.com).

BOARD OF DIRECTORS Hayne Bayless Joe Bova Elizabeth Cohen Ben Eberle Hollis Engley Fred Herbst Jonathan Kaplan Robbie Lobell David McBeth Jonathon McMillan Maureen Mills Nancy Magnusson Josh Teplitzky

CIRCULATION: Volume 43, Number 2, ISSN 0091-6641. Copyright 2015 by The Studio Potter. Contents may not be reproduced without permission from The Studio Potter. The Studio Potter is published in January as the Winter/Spring issue and in July as the Summer/Fall issue. For permissions, corrections, or information about digital versions of back issues and articles, please contact the editor.

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Our supporters help us publish The Studio Potter journal, and better serve our local, national, and international communities of craftspeople.

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Bits & Pieces

The Studio Potter

FOUNDATIONS Haymarket People’s Fund The Seth Sprague Educational and Charitable Foundation IN KIND DONORS Akar Gallery and the 143 potters who donated cups to AKAR’s Yunomi Invitational.

Mary Barringer John Glick Lynn Gerves and Mudflat Pottery School CORPORATIONS Highwarter Clays, Inc.

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Studio Potter

Word FROM THE EDITOR

Sea change. This buzzword came to mind lately as an appropriate introduction to this issue. Like some of you, I know its general definition – a significant transformation – and that it was the title of a Beck album some years ago (thirteen to be exact – ouch.). Others of you may already know whence it came. As I researched the etymology of this idiom, I found that its origin aligned not only with this journal’s evolution, but also with a generational shift of American ceramists, as veteran clay slingers and wheels make way for their techy grandchildren and Makerbots.

But never mind alternative rock artists and digitally printed pots, let’s talk Shakespeare for a moment. In The Tempest, Ariel sings to Ferdinand, Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade, But doth suffer a sea-change Into something rich and strange.

Her song is the origin of the phrase, set in a deeply compelling account of metamorphosis – bones and eyes to coral and pearls. Based on its etymological roots, sea change is an irreversible process of structural transformation in which suffering and loss are antecedents to strength and beauty. The resulting body bears those qualities not superficially but intrinsically.

Surface, by definition, implies that something exists beneath it, but not separate from it. There are many analogies about clay and the ceramic process that could be explored here, but a sea change relates to surface and our pursuits as clay workers in a broader way.

It describes a fundamental revision of one’s perception or of the premise that one’s work or lifestyle is predicated upon and manifests in a visible form.

You won’t find a plethora of techniques and glaze formulas in the following pages, but you will find stories of personal or professional change and growth, each delving a few fathoms deep. These writings are underscored by fresh, retro-modern visuals, which are a brief nod back and a first step toward a new SP that I hope all readers, from boomers to millennials, will savor and share.

- EW

x 15.5 in. Gift of Philip Aarons and Shelley Fox Aarons in honor of Jules and Jeanette Aarons. Photograph © Museum of Fine Arts, Boston.

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Bits & Pieces

RIGHT: Vase, Maija Grotell (American, born in Finland, 1899–1973), about 1942. Unglazed blue stoneware with platinum luster glaze, 15

Vol. 43, NO. 2 SURFACE

NATURE, SCULPTURE, ABSTRACTION, & CLAY: 100 years 38 |

By Caroline Cole, Nonie Gadsden & Emily Zilber

HISTORY

ARTIST NARRATIVES

18 The Use of the Volumetric in the

24 Surface BY HP BLOOMER

Ceramics of Pablo icasso

BY LÉOPOLD L. FOULEM

48 The Last Sane Man Book Club: INTRODUCTION BY ELENOR WILSON ESSAYS BY

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MARY BARRINGER

54

MARK SHAPIRO

56

MOYRA ELLIOTT

60

ERIC SMITH

58 SP Journal Timeline with Cardew 64 Cardew’s Apprentices

of American Ceramics

COLUMNS

8 The Marks Project: A Conversation WITH DONALD CLARK

26 Digital Surfaces BY ADAM CHAU 30 Highlighting the Human

BY GRACE SHEESE

34 Embracing Embellishment

BY KATE MAURY

65 Cheek by Jowl

BY LEANNE MCCLURG CAMBRIC

68 The Redemptive Surface

BY KEITH LUEBKE

14 Student Essay: ArtStream 2.0

BY CAMILA FRIEDMAN-GERLICZ

42 Beneath the Surface

BY AMANDA BARR

70 Anagama BY ERIK

REHMAN

BITS & PIECES

3 In this Issue 5 Donor List

71 Survey 73 Next Issue

6 Editor's Word

76 Booklist

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Studio Potter

Embracing

By Kate Maury

My interest in surface began very early. As soon as I could crawl, I successfully horrified my mother one afternoon as she sat getting her hair styled by my sister. As the story goes, I crawled into the room where my finely quaffed mother was and dramatically dropped my jaw to enunciate my first word, “hhhhhot.” Glittery glass shards were shimmering on my tongue. I had stolen an ornament off the Christmas tree and taken a hearty bite from it. Surely I was drawn to the intricate reflective beauty of the ornament’s embellished surface. The reactions of my captive audience were that of momentary wonder due to the mercurial sight, followed by the echoing screams of my startled mother as she realized what I’d done.

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Artist Narrative

ABOVE: Carved stone walkway, Jaipur, India.

All photography by the author, 2014, unless otherwise noted.

NEAR RIGHT: Archway, Amber Palace, Jaipur, India, 1592.

FAR RIGHT: Painted exterior wall, Amber Palace.

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Studio Potter

most intricately detailed assemblage of color and texture, composed of geodes and broken hand-painted European china. The structures were encrusted with this candylike surface.

My parents told me stories of where each bit came from. Some of the repurposed objects had belonged to the people in the town; my grandmother’s broken marriage china was included in the narrative.

As I became more mobile, I fixated on my mother’s stash of rhinestone jewelry. A World War II bride, she had a breathtaking array, which was typical of the women of that era.

Within their compositions and glittery surfaces time seemed suspended, and they transported me to another world. I imagined an alternate universe resided in those fiery stones just beneath the surface – a limitless atmosphere of luminous color.

My introduction to ceramic surfaces came from a grotto across from my mother’s childhood home in a small Wisconsin town. It was a focal point that attracted thousands of visitors to the region in the early twentieth century. A number of structures covered a few acres, shrines made from repurposed bits of glass, broken ceramic dishes, semiprecious stones, and shells. I remember being at eye level with the

My formal education in ceramics was very different from these earlier experiences. I was an undergraduate at the Kansas City Art Institute in the late 1980s, which at that time taught a traditional approach to making pots that referenced historic forms. I made functional ware on a treadle wheel and was content to apply the glazing techniques I had learned to develop my portfolio for graduate school.

I explored surface through the application of monochrome, high-fire reduction glazes.

Form was the focal point at this period of my development, and issues regarding ornamentation or surface decoration weren’t addressed beyond the gesture of a throwing line.

In graduate school at the New York State College of Ceramics at Alfred University, I began to explore oxidation soda firing. The process produced a subtle wash of fluxed material that enveloped my altered, lobed forms, defusing the semimatte glaze into a beautiful shell-like finish. This varied palette visually unified elements of form and surface in my thrown and altered work. The firing process physically unified those elements and was paramount in

achieving a seductive texture. These surfaces evidenced time in their depth and variation that invited my eye to linger over the finished works. It was a lofty goal to want to make an object that could speak of a timeless beauty, but one I truly felt worth pursuing.

After graduating and assuming a full-time teaching position at University of Wisconsin-Stout, I began to research crafts throughout India, where I had the pleasure of observing a culture where life, art, and religion merged. There, artistic expression wasn’t confined to a gallery but manifested in highly ornamented cloth, such as garments for a bride, piled on the puja table in a temple, or used in rituals during festivals. Saturated color was everywhere and freely used, without lessons in color theory. Handiwork, whether it takes the form of ceramics or textiles or another craft, has an incomplete component as a result of the belief that only perfection imbued by God can be transcendent; mere mortals understand their rank, intentionally leaving their handiwork partly unfinished.

Surface is a focal point, from the Delhi shop where embroiderers create elaborate patterns on the Prime Minister’s suits to the Pakistani border where women of the Rabari tribe decorate their huts and their clothes with glass bits to reflect candlelight at family meals.

Embellished surfaces are cultural signifiers that can convey one’s marital status, religious sect, or offered dowry. I can only describe the attention to surface detail in all aspects of Indian culture as purely visceral.

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As I repurposed bits of mold pieces, more complex motifs of surface treatment and texture emerged in my work. Repeating elements and building forms from textures gave me a new visual vocabulary to explore, which resonated with both my earliest experiences of surface and my recent travels and allowed me to embrace my overtly embellished pieces. My passion for densely embroidered textiles and ornate surfaces was finally finding a voice.

I am describing this shift in my work as if it were linear, reached after some conscious decision, but the process wasn’t linear or clearly defined as I experienced it; points on the map never explain the actual journey taken. My finished work and its surface reflect my journey more fully.

There are as many solutions to surface as there are artists producing work. As each of us approaches clay, a visual language develops from a complex array of experiences. Surface can be explored physically or visually, comprehended at a subconscious, nonverbal level, defined

formally by principles and elements of design, or explicated by a Gestalt theory of perception.

Surface is a complex entity; it may express meaning through narrative drawing or textural incising and capture overt grandeur with the application of sprigs, color of slips, or sensuous glaze. The haptic learner discovers its tactility, the artist conveys relevance through it, and the viewer can be transformed by it. At best, we remain open to all aspects of this journey, embracing the material and the offerings that continue to develop within each piece, and enjoying how this process keeps us connected to our humanity.

OPPOSITE: Kutch women embroidering,

Jaipur, India.

RIGHT: Kate Maury. Salt and

Pepper Altar (Homage to Rose), 2015. Cone 13, Hungarian porcelain, gold luster, 10x12x6 in.

Photograph by Peter Lee.

Artist Narrative

Back in my studio, where I had been questioning the outcome of my art practice for years, I felt frustrated. I didn’t know what I wanted to make, but I knew what I no longer wanted to make. I was ready to embrace change. A local business gave me some commercial craft molds. I had dismissed craft molds as having no purpose beyond serving hobbyists’ needs, but now the molds’ complexity of textures offered me a new language.

BIO Kate Maury received a Bachelor’s of Fine Art from Kansas City Art Institute and a Master’s of Fine Art from the New York State College of Ceramics at Alfred University. Currently she lives in St. Paul, Minnesota, where she is a studio resident at the Northern Clay Center and teaches full-time as a professor in the School of Art and Design at the University of Wisconsin-Stout. Her work is featured in both juried and invitational shows at regional, national, and international venues.

CONTACT: mauryk@uwstout.edu katemaury.com

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BY ERIK REHMAN

Studio Potter

ANAGAMA

W

e gather in the shadow of the weathered kiln, mingling with anticipation. Logs are split, salvaged lath is stacked by the stoke holes and firing chamber, and cracks are patched in the kiln with the devotion of those resurfacing an earthen mosque in Mali.

Resting on racks and shelves are vast quantities of pots glazed with tenmoku, celadon, shino, and oribe, all of them conceived from the confluence of thought and feeling.

The one who will conduct the firing crawls through the mouth into the belly of the kiln. We hand in pitted shelves, chipped bricks, and wadded pots, which he fits together like the pieces of a jigsaw puzzle, envisioning the passage of the flames as he balances emptiness, volume, and negative space.

The loading of the firing chamber is done with the patience and deliberation of a spider weaving a web. The last cup is fitted into place; branches are fed into the firebox; a match is struck. The kindling ignites, waking the dormant convection. We close the creaky hatch, propping it shut with a cinder block.

Next morning, the long burn starts. The logs release in a matter of seconds the decades of light the leaves imbibed,

gaining heft and density as the firing progresses. By midnight, the kiln is roaring like a waterfall. A torrent of fire floods the stack, sluices through the flue, and rages eight feet past the chimney’s lip, forming a ragged spire of light which flares against the aubergine sky, leaving a mark bright as the setting sun on the marrow of the eye.

The kiln door is swung back, more wood put in. Passing a pair of welder’s goggles among us, we gaze in turn at the conflagration, mesmerized. The current of fire rushes over the pots, which rest like river stones in its flow, and burns serpentine traces onto their stoneware shoulders.

and lips like reflections from the sides of darting fish.

The unloading is slow. Pots warm as loaves of bread are handed back out, veined with crazed drips of fused fly-ash, flushed with flash-trails, and gleaming with a vitreous sheen. We hold the meteoric forms in the wakening light, caressing them with callused palms as we savor their aureoles, coronas, haloes, and birthmarks. The vessels look old as stone tablets inscribed with an elemental translation of the telluric silence from which they were pulled.

The day wanes; tired smiles leaven our weary goodbyes. Shelves are restacked.

Pots are swaddled in newspapers and The stoking continues for days. We tend old sweaters, packed into milk crates to the fire like spellbound adherents of a and water-stained cardboard boxes, primal faith, driven by a passion to cap- and brought home. The vessels become ture the essence of the flames. Pull rings extensions of us as they age, confessing our temperament as they accompany are drawn; cones slump into puddles us through our days. Their chips and and drip, depositing comma-shaped cracks, mirroring our wrinkles and scars, gobs onto the sides of the pots. The whisper of our own transience and fradamper’s closed; the firing ends. gility, foreshadowing the time when all Three days later, we open the door that will remain of us is just an anonyas wide as the hinges permit. Transmous fingerprint, preserved like a fossil ported back to a distant Christmas in a shard of modeled clay. morning, we peek in and marvel at the BIO transformation: once-dusty, opaque Erik Rehman is a graduate of Tyler School of Art, pots wait in the shadowy interior, the and has taught numerous workshops and classes. half-light glinting from their bellies erikrehman@yahoo.com

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Bits & Pieces

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Visit us on the web for the rest of our story.

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SP Reader Survey We want to know more about our readers. Please take a few minutes to give us some feedback. You may return the survey to us anonymously, or please include an e-mail address and back issue choice at the end of the form to receive a free gift of thanks, a PDF back-issue of your choice.

1. How do you access The Studio Potter?

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 Artist Narratives  Exhibitions/Reviews  Historic  Interviews  Opinions  Student  Other_________ 5. Are you interested in reading SP online (computer, tablet, and mobile)?

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SP Reader Survey 74

Studio Potter

7. This issue of SP is a unique retro-style issue, which serves as a step toward a new look that will define the SP brand for the future. What are some of the things you liked most and least about it?

10. SP is embarking on a capital campaign to ensure its sustainability for future generations of readers, writers, and all studio potters. Which of the following programs and opportunities would you like to see SP offer?

___________________________________________________________

 Staff positions

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 SP sponsored events and exhibitions  Regional features on potters/events in my area

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Please leave an e-mail address and back issue choice. Visit http://thestudiopotterjournal.tumblr. com/past_main to see back issue choices – all issues are available in .pdf version.

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Grace Sheese, Anticipation, 2015. Porcelain and decals, thrown and altered, fired at Cone 6, 03, and 014 in oxidation. 10.5 x 5 x 4.75 in. Photograph by the artist.

Winter/Spring 2016 For SP, "sustainability" means new designs for both our print journal and website are on their way for 2016, as well as new programs and events. What does "sustainability" mean for your practice, food, family, business, leadership, education, studio, materials, or tools?

Submissions for the Winter/Spring 2016 issue on that topic are due September 15, 2015.

Contact editor@studiopotter.org for guidelines or to discuss your ideas.

www.studiopotter.org

Bits & Pieces

The Sustainable Studio Potter

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The Art of Color: The Subjective Experience and Objective Rationale of Color, Johannes Itten. New York: John Wiley, 1991.

The Complete Guide to High-fire Glazes: Glazing & Firing at Cone 10, John Britt. New York: Lark Books, 2007.

Art Pottery of the United States: An Encyclopedia of Producers and Their Marks, Paul Evans. New York: Scribner, 1974.

The Craftsman, Richard Sennett. New Haven: Yale University Press, 2008.

Ceramic Design Course: Principles, Practice, and Techniques: A Complete Guide for Ceramicists, Anthony Quinn. Hauppauge, NY: Barrons Educational Series, 2007.

The Ceramic Surface, Matthias Ostermann.

Philadelphia: University of Pennsylvania Press, 2002.

STUDIO POTTER

Author Reading Recommendations on Surface

Ceramics, Philip S. Rawson. Philadelphia: University of Pennsylvania Press, 1984.

Ceramics and Print, 3rd ed., Paul Scott.

Philadelphia: University of Pennsylvania Press, 2012.

Clays and Glazes: The Ceramic Review Book of Clay Bodies and Glaze Recipes, new ed., Emmanuel Cooper. London: Craftsmen Potters Association of Great Britain, 1988.

Color and Fire: Defining Moments in Studio Ceramics, 1950-2000: Selections from the Smits Collection and Related Works at the Los Angeles County Museum of Art, Jo Lauria and Gretchen Adkins. Los Angeles: LACMA in Association with Rizzoli International, 2000.

Cushing’s Handbook: A Compilation of Papers concerning Glazes, Glaze Calculation & Formulation, Clay Bodies, Raw Materials with Clay Body, Slip and Glaze Formulas, Firing, Pottery Making Tips and Other Useful Information. 3rd ed., Val Cushing and Karen Gringhuis.

Alfred, NY: privately printed, 1994.

Down to Earth: Mud Architecture, an Old Idea, a New Future, Jean Dethier. London: Thames and Hudson, 1982.

Electric Kiln Ceramics: A Guide to Clays, Glazes, and Electric Kilns, Richard Zakin. Westerville, OH: The American Ceramic Society, 2015.

Eva Zeisel on Design: The Magic Language of Things, Eva Zeisel. New York: The Overlook Press, 2011.

Fireworks: New England Art Pottery of the Arts and Crafts Movement, Paul A. Royka. Atglen, PA: Schiffer, 1997.

Form and Fire: Natzler Ceramics, 1939-1972, Gertrud Natzler and Otto Natzler. Washington: Published for the Renwick Gallery of the National Collection of Fine Arts by the Smithsonian Institution Press, 1973.

Gertrud and Otto Natzler: Collaboration/Solitude, Janet Cardon, curator. New York: American Craft Museum, 1993.

Glaze: The Ultimate Ceramic Artist’s Guide to Glaze and Color, Brian Taylor and Kate Doody.

London: Quarto, 2014.

Great Pots: Contemporary Ceramics from Function to Fantasy: The Newark Museum, Ulysses G. Dietz.

Newark, New Jersey, Madison, Wisconsin: Guild, 2003.

Home, Orla Kiely. London: Octopus, 2013.

Horizon: Transferware and Contemporary Ceramics, tKnut Astrup Bull and Paul Scott editors.

Stuttgart: Arnoldsche Verlagsanstalt, 2015.

Illustration Play 2: An Expedition to the Extraordinary, Viction: Workshop Ltd. Hong Kong: Victionary, 2010.

Image and Design Transfer Techniques, Paul Andrew Wandless. Westerville, OH: The American Ceramic Society, 2015.

Maija Grotell: Works Which Grow from Belief, Jeff Schlanger and Toshiko Takaezu. Goffstown, NH: Studio Potter Books, 1996.

The Majesty of Mughal Decoration: The Art and Architecture of Islamic India, George Michell and Mumtaz Currim. London: Thames & Hudson, 2007.

Miller’s Treasure or Not?: How to Compare & Value American Art Pottery, David Rago and Suzanne Perrault. London: Octopus, 2001.

On Weathering: The Life of Buildings in Time, Mohsen Mostafavi and David Leatherbarrow.

Cambridge, MA: MIT Press, 1993.

Pattern, Orla Kiely. London: Octopus, 2010.

The Printmaking Bible: The Complete Guide to Materials and Techniques, Ann Hughes and Hebe Morris. San Francisco: Chronicle Books, 2008.

Steal Like an Artist: 10 Things Nobody Told You about Being Creative, Austin Kleon. New York: Workman, 2012.

Surface Design for Ceramic Artists, Maureen Elizabeth Mills. New York: Sterling, 2008.

Traditional Jewelry of India, Oppi Untracht.

New York: Harry N. Abrams, 1997.

Unknown Craftsman: A Japanese Insight into Beauty, Soetsu Yanagi and Bernard Leach. New York: Kodansha USA, 2013.

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Geometric Two, Kapitza Design Studio. London: Vertag Hermann Schmidt Mainz, 2013.

WHEELS & EQUIPMENT

wheel

“The whole is greater than the sum of its parts.”

Aristotle

Robert Brent 6060 Guion Road, Indianapolis, IN 46254 I (800) 374-1600 I salessupport@amaco.com I brentwheels.com

PLINTH GALLERY Plinth Gallery is a pristine exhibition space for contemporary ceramic art located in Denver’s exciting River North Art District.

3520 Brighton Blvd., Denver, CO 80216 | (303) 295-0717 plinthgallery.com

JUSTIN ROTHSHANK rothshank.com

instagram: @jrothshank | jrothshank@gmail.com | (412) 478-3105

NORTHERN CLAY CENTER

EUTECTIC GALLERY Eutectic Gallery features both rising and established contemporary ceramic artists as we explore the relationship between process, concept, and how the public interacts with the finished work.

1930 NE Oregon St., Portland, OR brett@eutecticgallery.com | instagram: @Eutectic_Gallery | eutecticgallery.com

Featuring visiting artist workshops, exhibitions, online shopping, residencies, and the American Pottery Festival, NCC’s 17th annual fundraising benefit and celebration of the art of the pot.

2424 Franklin Avenue East, Minneapolis, MN 55406 | (612) 339-8007 nccinfo@northernclaycenter.org | northernclaycenter.org

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The Studio Potter and the American Crafts council offer mutual member benefits: SP members are offered a discount on their ACC membership and vice versa.

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