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Articles

Betty Woodman in Italy.
The Italian Experience
By
Betty Woodman
The reader may wonder what nostalgic musings about the Tuscan landscape have to do with earthenware. For me the physical and cultural context of Italy has had a great deal to do with my development as a potter and has finally led me to earthenware.
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Form and Color: A True Symbiotic Relationship
By
John Stephenson
The architecture of Antonio Gaudi made a very strong impression on me when I was traveling in Spain in 1974. Many of Gaudi's buildings are free of the usual sense of angularity and straight line so familiar in most architecture.
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Small plate, Northeastern Iran, Samanid period, 10th century, Slip-painted earthenware.
Access to Pots: A Guide to Using Museum Collections
By
Louise Allison Cort
Most museums, especially older ones with large cumulative collections, ex­hibit only a fraction of their holdings at any one time. Although this fact is sometimes cited as criticism of a policy of "secrecy," in reality it is a boon to the potter since pots are more readily removed from storage cupboards than from exhibition cases.
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Victor Babu, 1983. Photographed by Carol Long.
Missouri Valley Potters: Victor Babu
By
Gerry Williams
I am a person who needs and loves to establish a clear control over the material. I am a process-oriented artist.
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