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Elenor Wilson, Editor.  Illustration by Zoe Pappenheimer.
Let's...broaden our definition of education beyond formal settings, and even beyond mentorship, to include all experiences from which one learns, and in turn, creates.
A teaching artist's sample of the folded-owl project, in which participants can build texture with limited manual dexterity.
NCC’s teaching artists, supported by the organization’s commitment to responsive, professional development, have developed a deep understanding of the human brain, of aging, and of healing that has helped shape the practice of ART@HAND.
Wanphet unloads a kiln at her home workshop, 2018.
The effect of the colorful weaving wrapped in miniature around the terracotta vase is arresting; it is fine and coarse at the same time. The ethnicity is pure rural Thai heartland.
Seth Rainville. Where There Is Smoke, 2018. 10x7x4.5 in. Wood-fired porcelain with slips and glaze.
A conversation with Harvard Ceramics Studio Artists-in-Residence Mark Burns, Stuart Gair, and Seth Rainville; organized, moderated, and recorded by Kathy King at the Falmouth Arts Center, Falmouth, Massachusetts.
Fred Herbst. Earth Wave, 2017. 10x10x4 in. Press-molded, anagama-fired  stoneware. Photograph by Molly Cagwin.
The studio provides a haven...for those whose personal communities (religious, ethnic, racial, and sexual- and gender-identity-based) are being targeted in our highly partisan culture.
Title Page, State of Clay Education, by Stephen Creech, Vol. 46, No. 2, 2018.
I firmly believe that, as ceramic artists, it is our responsibility to fill this looming knowledge gap and help support the next generation of educators teach clay in the classroom, inspiring the future ceramic artists of America.
Keyontee Patterson learns wheel throwing in the Ceramics 1 class at Gainsville High School, 2018. All photographs by author.
With college clay and art programs being cut across the nation because of low enrollment numbers and even lower funding, the clay community needs to re-evaluate its approach to recruiting students in both K-12 and higher education.
Haley Martin, Northridge High School, Layton, Utah. Red Teapot Set, 2018. 6.5x17x5.5 in. Wheel-thrown, altered, carved, layered underglaze. Winner of three awards at the 21st Annual National K-12 Ceramics Exhibition, Pittsburgh, Pennsylvania.
None of the founders of k12clay ever dreamed that we would be where we are now, twenty-five years later. Somehow, the magic this dynamic exhibition generates seems to come back to us in generously in unexpected ways.
Title Page, Teacher Reflections on k12clay, Vol. 46, No. 2, 2018.
Three K-12 ceramics teachers reflect on the value of the National K-12 Ceramic Exhibition (k12clay), and the influence it has had on their students and their schools' ceramics programs.
April James, Lakeridge High School, Lake Oswego, Oregon. Algernon, 2017. 4x4x8 in. Clay, latex paint. Winner of two awards at the 19th Annual National K-12 Ceramics Exhibition, Kansas City, Missouri. Photographs courtesy of Michael Helle.
No matter at what age we are introduced to ceramics, as long as we keep working with it, clay will be introducing itself to us, sometimes gloriously, exceeding our expectations; other times mocking us, as if to say, “Not that way, dummy!”
These turquoise pots represent a changing pottery tradition. The fish motif  is traditional to the area around the village of Shah Reza, but the forms  and color cater to current fashions.
Despite, or even because of, an uptick in political tension and uncertainty in recent months, our pots place upon us a responsibility to be conscious of our world view.
Ceramic plate by Tim Compton, beef course by Chef Alan Sternberg, 2017. Plate is wheel-thrown, 14x14x3 in. Photograph by Audra Sternberg.
Ceramic wares and fine dining have gone hand in hand for a long time, but as each hip new restaurant works to find its niche in the culinary community, some are turning to handmade dishware for an advantage.
Kelsey Nagey, Untitled (Pitcher), 2017. 14 x 7 x 5 in. White stoneware, underglazes, trailing slips. Photograph by artist.
Knowing [my interns] has helped me ask measured questions, which I hope has kept them thinking as they work. The exchange is reciprocal...
Some students preferred to interact with the clay via a tool, while others used direct manipulation with their hands.
The idea of introducing visually impaired people to working with clay intrigued me because of the physical and psychological benefits it might offer them...their understanding of the world depends on what or whom they touch.
A few of the many, many shelve of pottery books in the author's home in Ashford, Connecticut. Photograph by Joseph Szalay, 2018.
Books on ceramic history dominate my shelves. How could they not? With more than ten millennia of pot-making behind us, there is so much to investigate, explore, and write about.
Will McComb. Biomorph, 2018. 12x6x5 in. Stoneware, Cone 10 oxidation. Photograph by author.
Three essays written by recipients of Studio Potter’s merit award for the National Juried Student Exhibition held during the 2018 National Council on Education for the Ceramic Arts (NCECA) conference in Pittsburgh, Pennsylvania, March 14-17.
Potter Melissa Weiss holding one of her large bowls. Weiss digs her own clay in Northwest Arkansas, and operates a studio in Asheville, North Carolina.
The clay on my land is very obvious; you can pick up a chunk and make a pinch pot. I dug a bucket of it and took it home, then made a couple test pots and fired them.
In Memoriam
Paula Winokur photographed by her son, Michael Winokur, 2005.
Paula Winokur cared. Not just about what she made but about what other people made, too. She cared about humanity, about the future. Paula was at once kind, thoughtful, and knowledgably outspoken.
In Memoriam
Bunzy Sherman at her studio, Deer Isle, Maine. Photograph by Barbara Toole.
Bunzy took 39 workshops at Haystack—her last one was in 2014, when she was 90. Schools such as Haystack bring together people of varied ages and experiences. Bunzy was an integral part of that mix.
Jennifer Markmanrud on the wheel at the NHIA, Manchester, New Hampshire. Photograph by Maureen Mills.
This past winter a unique opportunity to share the workshop experience with one of my students presented itself through the North Country Studio Workshops (NCSW).
Amanda Barr, Glass Houses, 2018.
Seven years of higher education, and it took just one community class to turn it all upside down. I hadn’t figured out life, life had figured me out.