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Articles

Martina Lantin, illustration by Zoe Pappenheimer, 2017.
Boundaries and Borders
By
Martina Lantin
As major political and social events unfolded alongside the development of this issue, I relished working with contributors, who addressed the capacity of clay to cross boundaries.
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Elisa Helland-Hansen, Pouring Pitcher, 2011. Stoneware, reduction fired to Cone 10 in gas kiln, 9 x 6 x 6 in. All photographs by the author. Image design by Zoe Pappenheimer.
A Norwegian Potter's Perspective: Studio Pottery Practices in Norway and the Impact of Social Media
By
Elisa Helland-Hansen
Forty years ago, I had access to a limited number of photos of ceramic work. Today I am constantly exposed to images of pottery through social media. How does this affect our work and thinking? Can we have too many influences? My answer is no.
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Adam Chau, Contour Plates, 2017. Pie-molded porcelain with CNC cobalt decoration, 8 x 7 x 0.25 in. Photograph by the artist.
Limbo
By
Adam Chau
As both a first-generation Asian American and multigenerational Caucasian American, I am interested in the perceived boundaries of employing one’s heritage as a contemporary aesthetic.
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Ayelet Zohar, Villa in the Jungle, 2016. Camouflage nets over Benyamini Center. Photograph by Yael Gurand Zamir Nega.
An Interview with Wendy Gers
By
Wendy Gers
Wendy Gers is a curator and arts administrator who seeks to push the social, political, and technological boundaries of ceramics. The following conversation addresses curating on an international stage, and her "Post-Colonialism?" project at the Benyamini Contemporary Ceramics Centre in Israel.
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Claire Prenton and Grace DePledge, one of two collaborative mugs for The Cup Collaboration project, 2016.
Hand Up, I'm Addicted to Social Media
By
Adriana Christianson
I joined Instagram in 2012, and I was immediately excited by the speed with which communities formed. This aligned perfectly with my instinct to bring people together, and thus, the idea of The Cup Collaboration was born.
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Plough Gallery. Photograph by Glenn Josey .
Ploughing a New Path
By
Mark Errol
This is how it all starts. Wherever it is. It starts with people opening doors, with taking the chance to find a place and put an “open” sign in the window. Our job is to make the place where we live more aware, more vibrant through art.
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Vodu ritual pot in market, Dzodze, Volta Region, Ghana.
From Arkansas to Ghana, The Clay is Still Red
By
Dr. Samuel Nortey & Adam Posnak
This article is a collaborative effort, reflecting Dr. Samuel Nortey and Adam Posnak’s shared experience of international exchange.
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Shary Boyle and John Kurok, Greek Tragedy, 2016. Porcelain and smoke-fired stoneware. All photographs by M.H. Hutchison and courtesy of Esker Foundation, unless otherwise noted.
Bridge Art with a Huge Bandwidth
By
Mireille Perron
Artist Shary Boyle used the concept of “bridge art” to frame Earthlings, an exhibition at the Esker Foundation, to highlight her collaborations with seven Inuit artists: Roger Aksadjuak, Shuvinai Ashoona, Pierre Aupilardjuk, Jessie Kenalogak, John Kurok, and Leo Napayok.
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Paul W. Leathers, JDZ (Silver Fern) Fragment Brooch, 2013. Oxidized sterling silver with titanium (PVD) coated porcelain, underglaze transfers, 2.75 x 1.25 x 0.5 in. Photograph by the author.
Crossing Borders, Breaking Boundaries
By
Paul Leathers
A kind of adventure, artist residencies are exceedingly valuable periods of time when, by taking a perpendicular stance to one’s studio routines, one can develop one’s practice in new and often unexpected directions.
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Conjoined Geographies, 2016. Pit-fired, hand-built earthenware with terra sigillata and glaze, 14 x 24 x 6 in. All photographs by the author.
The Transformative Geographies of Murmuration
By
Lauren Sandler
As communities, we can criminalize, stigmatize, and incarcerate, erect rigid confines, and designate borders. Or, through collective endeavor, we can provide access, allow movement, and foster an interdependent web of supportive resources.
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A collaborative piece by McCarthy and a student, Ben Z., made as a modern reinterpretation of face jugs. Wheel-thrown stoneware, altered, wood-fired to Cone 10, salt-glazed, 13.5 x 10 x 9 in.
We're All Students Here
By
Michael McCarthy
I teach ceramics at the Austen Riggs Center, a small private psychiatric hospital and residential treatment center. I teach these students as I would anyone, anywhere. I don’t know why my students have been admitted to the hospital; this is an important boundary.
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Yu Jiaqi, Through the Looking Glass; serving platter detail, 2017. Bone china, slipcast, overglaze decals, gold luster decals, hand painted overglaze and gold luster, 1 x 12.5 x 12.5 in. Photograph by Nick Geankoplis.
Blending Genre Boundaries
By
Nick Geankoplis
In 2013, I moved to Beijing to teach ceramic design at the Central Academy of Fine Art (CAFA). As I conclude my four years of teaching at CAFA, I am reflecting upon how I’ve restructured and redefined my understanding of the roles and boundaries of art, craft, and design.
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Pamela Nagley Stevenson with her early work, 1977.
Just Across the Border: Opportunity!
By
Mary Ann Steggles
Whether it was being made in urban or rural communities, ceramics provided the framework for a new lifestyle during a resurgence of crafts in Canada. Regardless of where they lived or the intent of their practice, each expatriate added, in their own way, to the Canadian cultural landscape.
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Mac McCusker, Top Surgery: 60 Days Post-Op. A Transgender Self-Portrait, 2016. White Earthenware, underglazes and glazes, Cone 04, 19 x 21 x 11 in. Photo by artist.
Trans-Action Art
By
Saba Stovall
In discussions of social reform, there is a point at which words can no longer educate listeners. Art intervenes where words cannot. The unprivileged— the others, the outsiders, the marginalized — can access tools of political and social reform through art to bypass cultural boundaries and speak across borders.
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Teresa Larrabee, Sweet Nothings, 2016. Cone 5 stoneware, oxides, acrylic, lichen, 13 x 15 x 4 in. Photograph by author.
"Why Figures?"
By
Teresa Larrabee
In high school, I was insistent about making figures that looked as realistic as possible. I began sculpting figures that told short narratives, such as a life-size elderly couple falling asleep while playing chess, or a man sneezing milk out of his nose (I thought I was hilarious).
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Inside Kevin Crowe's kiln just after the first firing of his rebuilt anagama kiln. Ty River Pottery, Amherst, Virginia. Photograph by Peter Rausse, 2015.
The New Kilns in Town
By
Linda Crowe
In 2016, Noah Hughey-Commers and Kevin Crowe, my husband, were in the process of completing the construction of their new anagama kilns. This is the account of the first firings of the new kilns in town.
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John Glick
In Memoriam
Three exceptional ceramists, John P. Glick (1938-2017), Robin Hopper (1939-2017), and Paulus Berensohn (1933-2017), are lovingly remembered in essays by Jay Dion, Cathi Jefferson, and Skip Sensbach, respectively.
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Letters
By
Elenor Wilson
Several people wrote in to express their opinions and concerns about the previous issue, or about Studio Potter journal in general.
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