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Articles

Elenor Wilson, Editor. Illustration by Zoe Pappenheimer.
Word from the Editor - The Education Issue
By
Elenor Wilson
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.
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A teaching artist's sample of the folded-owl project, in which participants can build texture with limited manual dexterity.
Reclaiming Memory: Expanding the Definition of Successful Learning
By
Jill Foote-Hutton
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.
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Wanphet unloads a kiln at her home workshop, 2018.
Of Jungles and Snow
By
Anthony Richards & Sa Wanphet
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.
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Seth Rainville. Where There Is Smoke, 2018. 10x7x4.5 in. Wood-fired porcelain with slips and glaze.
Three Guys Walk into a Ceramics Studio...
By
Kathy King & Mark Burns & Stuart Gair & Seth Rainville
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.
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Fred Herbst. Earth Wave, 2017. 10x10x4 in. Press-molded, anagama-fired stoneware. Photograph by Molly Cagwin.
Putting the Community in College
By
Fred Herbst
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.
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Title Page, State of Clay Education, by Stephen Creech, Vol. 46, No. 2, 2018.
The State of Clay Education
By
Stephen Creech
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.
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Keyontee Patterson learns wheel throwing in the Ceramics 1 class at Gainsville High School, 2018. All photographs by author.
Adventures in Rebuilding a High School Clay Program
By
Sara Truman
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.
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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.
Founded to Showcase the Best: A History of the National K-12 Ceramic Exhibition Foundation
By
Bob Feder
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.
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Title Page, Teacher Reflections on k12clay, Vol. 46, No. 2, 2018.
Teacher Reflections on “k12clay”
By
Anne Maurice & Joy Jones & Kelly Clark
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.
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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.
The Most Valuable Clay in the World
By
Jack Troy
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!”
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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.
Finding (And Teaching) the Ceramics of Iran in a Contemporary Context
By
Jillian Echlin
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.
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Ceramic plate by Tim Compton, beef course by Chef Alan Sternberg, 2017. Plate is wheel-thrown, 14x14x3 in. Photograph by Audra Sternberg.
Practical Notes for Engaging the Restaurant Industry
By
Tim Compton
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.
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Kelsey Nagey, Untitled (Pitcher), 2017. 14 x 7 x 5 in. White stoneware, underglazes, trailing slips. Photograph by artist.
Developing Voice and Vision: A Studio Internship Model
By
Eric Botbyl
Knowing [my interns] has helped me ask measured questions, which I hope has kept them thinking as they work. The exchange is reciprocal...
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Some students preferred to interact with the clay via a tool, while others used direct manipulation with their hands.
Working with Deaf and Blind Students
By
Elizabeth Cohen
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.
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A few of the many, many shelve of pottery books in the author's home in Ashford, Connecticut. Photograph by Joseph Szalay, 2018.
Confessions of an Autodidact: Book Learning
By
Suzanne Staubach
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.
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Will McComb. Biomorph, 2018. 12x6x5 in. Stoneware, Cone 10 oxidation. Photograph by author.
Student Essays
By
Lukas Easton & Will McComb & Steven Osterlund
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.
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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.
Ask Me Anything: An “Instaview” with Melissa Weiss
By
Melissa Weiss
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.
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In Memoriam
Paula Winokur photographed by her son, Michael Winokur, 2005.
Paula Colton Winokur (1935–2018)
By
Nancy Selvin
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.
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In Memoriam
Bunzy Sherman at her studio, Deer Isle, Maine. Photograph by Barbara Toole.
Bunzy Sherman (1923–2017)
By
Stuart Kestenbaum
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.
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Jennifer Markmanrud on the wheel at the NHIA, Manchester, New Hampshire. Photograph by Maureen Mills.
The Workshop Experience for Mentor and Mentee
By
Maureen Mills & Jennifer Markmanrud
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).
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Amanda Barr, Glass Houses, 2018.
What To Do When Life Figures *You* Out
By
Amanda Barr
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.
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