This article appeared in Ceramics Monthly magazine’s February 2010 issue. Click HERE for a link to the article on ceramicartsdaily.org January 20, 2010 The Industry of Making Potsby Donald Clark
 Chateau Bud Vase, 6½ in. (17 cm) in diameter, designed and introduced in 2008 by KleinReid.
“Today in any definition of the craftsman there is still inherent the idea of the man who makes things by his hands, one at a time with his skill, his tools, his intuitive gifts of form, color, and use of materials and techniques.” These words, written by John Smith, appeared in the British Journal of Aesthetics in 1971. This definition of the craftsman (and by implication the handmade) is quite indicative of the attitude that fueled the crafts movement in the second half of the 20th century here in the United States. The GI Bill had educated thousands of men, many of whom became potters who were performing all the steps needed to produce each piece they made. At the same time, a large educated consumer class emerged that was eagerly seeking relief from the anonymous goods that had flooded the market. It was a perfect match and the result was a time that was rich in production and also in dollars. This rich relationship drove the marketplace and in turn defined how most clay pieces were produced.
 Eva Centerpiece, 12 in. (30 cm) in height, designed in collaboration with Eva Zeisel and introduced in 1999, by KleinReid.
However, this make-it-all-yourself approach wasn’t all that was going on in the clay world. For some working in the clay field, it was appropriate to produce pieces using industrial tools and thinking. Garth Clark, writing in the catalog Object Factory II for the exhibition of the same name at the Museum of Art and Design in New York City, reminds us of the role of industry in our field. “Applied art as a critical movement has begun to take on its own character, not better but different from craft. Most importantly, its processes, even if they produce unique objects, are drawn from the factory floor.”
Beginning with the Arts and Crafts movement at the beginning of 19th century, the applied arts have grown in importance and recognition. The Bauhaus philosophy, and the work of many of the designer crafts people who worked and studied there, have driven the applied arts since the middle of the 19th century.

Espresso cups from the winter 2009 collection, Heath Ceramics.
Ceramic history is filled with artists using various industrial techniques and approaches to produce their work. Eva Zeisel immediately comes to mind as a leader in the industrial ceramics field. Born in Budapest in 1906, she was a design force throughout most of the 20th century. Although her pieces were produced by other workers using molds made from her originals, her respect for and understanding of clay was always evident. After all, she began her career by apprenticing herself to a traditional potter in Germany, attaining journeyman status and working in a number of factories before she immigrated to the United States in 1938. Although now 103 years old, she continues to design sensuous pieces that are produced in porcelain by James Klein and David Reid (www.kleinreid.com).
 Vases and bowls from the summer 2009 collection, Heath Ceramics.
Another believer in the philosophy that the hands making the object don’t have to be the hands of the person who designed it was potter and designer Edith Heath. A one-woman show in the mid-forties at San Francisco’s Palace of the Legion of Honor introduced her understated pottery, and her simple pieces were picked up for sale in Gump’s San Francisco store. Subsequently, she founded Heath Ceramics (www.heathceramics.com) in 1948 and the company quickly became known for its mid-century modern dinnerware and architectural tiles.
Russell Wright was a major star of 20th century industrial ceramics. Unlike Zeisel and Heath, he did not have a background in ceramics, but rather was a designer. Clearly he had an understanding and appreciation for clay, as is reflected in his American Modern dinnerware line that became the largest selling dinnerware up to that time. These designer craftsmen, along with their counterparts in the studio, were part of the engine driving the crafts movement that began to explode in the 1970s.
 Re-issued pitchers from Wright’s American Modern dinnerware, by Bauer Pottery Company.
Makers and consumers alike have contributed to the natural evolution of our field over the last 40 years. In 2010 we find ourselves in the era of the “not so hand made.” The consumers are younger and bring very different product preferences and shopping habits to the marketplace. This younger consumer group, often called the Millennials, numbers about 71 million. The Internet is one of their major shopping tools, this consumer doesn’t have to touch to decide-just click. Their motivations are also quite different, they are probably not collectors but what might be called problem solvers. They need a gift, something to eat from, or have an empty shelf or wall. They are likely to become repeat customers if they find the shopping experience easy and pleasant and if they get the right feedback about their purchases. The Internet sites Artful Home, Amazon, and Etsy are just a few of the preferred shopping sites for this gang.
Potters today who have freed themselves from the constraint that everything must be made by their hands are exploring numerous other avenues to produce their work and get it to market. The models run from a potter working alone using industrial equipment in the studio to the clay designer who, once the piece is designed, never touches it again.
 Zombie #b, 12 oz. cup, 3¼ in. (8 cm) in height, designed in collaboration with Matty Cipov, 2009, by Circa Ceramics.
Nancy Pizarro and Andrew Witt began Circa Ceramics, (www.circaceramics.com) in 1999. They are life and work partners who make all their pieces themselves in their studio in a refitted industrial building on the north side of Chicago. They use only porcelain, which is either shaped using a jigger/jolly system or slip casting. This team didn’t turn to industrial processes to increase production, rather it was the look and the feel of the pieces they were producing and the level of consistency demanded by one of their first clients (a coffee company) that sent them in that direction. They have gone on to create a line of functional pieces that get their power from clean forms, vibrant color, and quirky decoration. Soon they realized they needed an efficient way to put client’s information on the pieces. Again they turned to industry for a solution and began screen printing to create decals. Andrew points out, “the major benefit of screen printing is its use of vector files that can be sent via email directly from the client so we can begin doing our work of producing the end result.” Mastery of this technology allowed them to create decals from their own designs that are used to decorate the surfaces of their brightly colored pieces. “For us, what keeps all this exciting is that we have been given a tiny glimpse of what the tableware industry is like,” they observe. “And this industry, much like the fashion industry, has trained people’s perception of what pottery should and shouldn’t be. It is through the use of industrial processes that we can enter into this world and play upon these perceptions.” Enter that world they have, and built a line that appeals to the forward looking consumer who is drawn to the vibrant colors and quirky decal images. Circa Ceramics markets their work at local retail shows, but in keeping with their interest in up-to-the-minute production techniques, it logically follows that they would make Etsy.com their major marketing tool.

Skippy Medium Ball Lamp, base is 11 in. (28 cm) in diameter, by Jill Rosenwald Studio.
A light-filled studio in Boston is the home base for Jill Rosenwald (www.jillrosenwald.com). She is a designer with an understanding of, and interest in, functional ceramic forms who sought a way to get her images on the surfaces of functional pottery. Not a potter herself, Jill found potters who could throw the forms she had drawn on paper. Today, all the pieces are thrown by a skilled potter working to Rosenwald’s specifications in her studio. She also creates the surface designs on paper and then works with her painter to transfer them to the ceramic surface. They work through a series of trials until the design suits her. The finished design is then added to her line and each subsequent piece is thrown and then glazed by this team. This arrangement is similar to the structure of many production potteries of the Arts and Crafts movement. Rosenwald continues to create new designs as she oversees the production of her work and continues to develop the marketing aspects of her growing business.
The Queens, New York, studio of James Klein and David Reid is an up-to-the-minute example of the use of molds. They attribute their interest in production pottery to their early years in Ohio, where they were exposed to the production pottery by Hall China Company, Homer Laughlin China Company, Roseville Pottery Company, and Weller Pottery. Each piece they produce is first carved by them from plaster. They use this master to create the molds that they use to produce the final product. In this studio, the use of molds has a place other than to speed production. “As our aesthetic developed, molds and plaster simply became the best way to make the thing we were picturing in our heads . . . sometimes challenging ourselves to make the use of molds vital to the pieces we were making.” In 1999, Klein and Reid began a collaboration with Eva Zeisel that resulted in a porcelain line that could only have been made using the industrial processes they have mastered. They sum up their process saying, “We want to be the invisible hand that created the thing and, to this end, molds are useful partners.”

Vice Canisters, to 8¾ in. (22 cm) in height, by Jonathan Adler.
Jonathan Adler (www.jonathanadler.com) began working with clay in high school; his resume says, “Spends entire adolescence in basement of parent’s modern house throwing pots.” He then went to Brown University in Providence, Rhode Island, to study art history, but spent most of his time at the Rhode Island School of Design making pots. In 1993, he showed a group of pots at Barney’s where they were a huge success, which led to more and more orders. Adler soon realized he wasn’t cut out to make the same pots all day. His solution to his production problems was to seek help from Aid To Artisans (www.aidtoartisans.org), which is a nonprofit organization that connects artists in the US to artisans in developing countries. In this instance, Adler was connected to a small clay studio in Peru. Again from his resume: “1997, flies to Peru and discovers paradise-a beautiful workshop by the sea with parrots and gardens and incredible artisans, creative explosion ensues.” Currently, the prototypes for each piece are developed at the New York studio and then shipped to Peru. The Peruvian artisans create molds and the line is cast and finished. Today, Adler is a designer working in numerous mediums, much like Russell Wright did in the last century.
Going forward the clay worker, whatever they call themselves, will be confronted with the realities of what might be called the new normal. The totally-made-by-hand object has become, by nature of its cost, a luxury product only available to more affluent consumers. It is certainly important that this facet of our field continue. It is, after all, how skills are passed on. However, the traditional collector group that has fueled the demand for studio pots is aging and fading from the scene. This, coupled with rapidly changing levels of appreciation for handmade ceramics (the mark of the hand is no longer the selling point), presents today’s clay worker with a marketplace that little resembles that of the last generation. These indicators, along with well-designed industrial tools and an ample number of studio models, suggest the studio potter can, with thoughtful care, embrace a broader approach to how their work is produced, and can continue to honor their materials.
the author Donald Clark is the author of Making a Living in Crafts (Lark Books), numerous articles on the business of crafts, and co-owner of Ferrin Gallery (www.ferringallery.com ) in Pittsfield, Massachusetts. |
Introducing the "Shopping Cart" - starting with the 2009 Studio Pottery Invitational, Ferrin Gallery has added a shopping cart function to assist our 24/7 web collectors. Responding to our national client base who enjoy purchasing during non - gallery hours, we have instituted the option to buy directly from the website. Our first sale - a potter from Texas. We always knew our artists could be some of our best collectors if they could only easily use the website on their schedule. We have to ask ourselves, what took us so long. Ferrin Gallery has specialized in and shown contemporary American ceramics and studio pottery for over thirty years. During that time, the gallery, originally founded by three potters, has shown work by over a thousand potters through solo, group shows and annual surveys. This genre in contemporary ceramics continues to be avidly sought by people who use, collect and give handmade ceramics. Through this exhibit, our local community of collectors and artists can discover and examine the works in person and the rapidly growing global collecting community, while unable to touch, are able to view the show online. We are happy to discuss the work in person, live on the phone or "chat" via email about what is represented digitally. STUDIO POTTERY INVITATIONAL 2009 Ferrin Gallery 437 North Street Pittsfield FerrinGallery.com This exhibition introduces a group of studio potters who have not shown their artwork at the gallery previously. Each year ten artists are invited to present a series of functional objects that are related by form and surface. The artists chosen for this year's show include locals Mary Anne Davis whose studio is located in nearby Spencertown, NY and Molly Hatch from Northampton, MA. Other artists include those who are young and considered "emerging" Gwendolyn Yoppolo, Sanam Emani and Kristen Kiefer , Then there those we re-met while traveling - Nicholas Bernard, Phoenix, AZ who previously worked with the gallery but not for many years. Two came to us in person when we met through their visits to the gallery while in the area as guest artists - Steve Godfrey, Alaska and Christa Assad, California. Another sources for us are recommendations by faculty or other artists who mentor them such as Sanam Emami who came to us through Linda Sikora her teacher at Alfred University. CHRIS GUSTIN, joined us this year as the featured artist for Locally Thrown / Locally Grown a weekend of events based in ceramics. His classic tea bowls and large vessels offer both sculptural vessels and utilitarian in richly glazed woodfired stoneware. CLICK HERE FOR DIRECT LINK TO SHOW OVERVIEW: http://www.ferringallery.com/dynamic/exhibit_overview.asp?ExhibitID=290ONVIEW through November 14, 2009 CHRISTA ASSAD Based in California, mid-career artist Christa Assad is most well known for her interpretation of iron as a teapot. Visiting this summer during the teapot show Teapots Interpretations, Assad explained her the inspiration for her piece: "The antique sad iron conjures up memories of childhood, of times spent with grandmothers and long forgotten domestic disciplines. the morphing of iron and teapot as domestic object icon helps to elicit a more powerful emotional response." A teacher, traveler and full time ceramicist with an MFA from Indiana University, the works she sent us for the invitational includes a group of cups designed after her visit to the Berkshires and a lively discussion with local potter, Mark Shapiro. Her work will be featured next year in a solo show at Ferrin Gallery based on interpretation of vestigial objects to inspire new forms maybe even one of those well known transformer originally manufactured by GE in Pittsfield. NICHOLAS BERNARD While visiting Arizona this year for the opening of Sergei Isupov's solo show, we bumped into a friend from another time, Nicholas Bernard. Working in ceramics since high school, his current work combines brightly colored and textured earthenware surfaces on vessels that are inspired by the Southwest landscape. Bernard studied the pottery traditions of native cultures and worked with contemporary Native American potters exploring traditional methods of forming and firing. For this show, Bernard carefully chose a selection of his favorite vessels from several firings this summer. MARY ANNE DAVIS Mary Anne Davis is an accomplished production potter who has been designing and producing dinnerware for 20 years. Known for simple designs and clear colors, she created davistudio in nearby Spencertown to produce and sell porcelain objects through a variety of venues including museum and department stores, and galleries throughout the country. An artist with an ear for dialogue she writes on ceramics and community for various publications and maintains a lively conversation through her blog. Her installation "Naked Porcelain" features a banquet table set for twelve with her simple white porcelain dishes. SANAM EMAMI Sanam Emami, born in Iran, incorporates elements of Pre-Islamic and Islamic art into her work. "The influences are at times visually apparent on my forms and the patterns that are embedded in the wet clay, and at other times, they are only present in the method of juxtaposing selected patterns and images on the surface with silk-screened imagery." Emami received her MFA from Alfred University and lives and works in Pennsylvania. Photo caption: Sanam Emami, Patterned Vase, 13 x 6" Click Here to see Sanam Emami @ FerrinGallery.com STEVEN GODFREY Potter and Professor of Art at the University of Alaska, Anchorage, Steve Godfrey creates pots, mugs and other classic utilitarian forms with celadon glazes and surface textures. His recent use of bird figures is based on old ivory carvings done by Siberian Yupiks (Eskimos), natives of King and St. Lawrence Islands in Alaska. "I hope for my pots to speak to people beyond their functionality and to tell a provoking story through the symbolism of form and color. I wish for them to be used and understood as objects that are testaments to observations of beauty." MOLLY HATCH A new resident of nearby Florence, MA, Molly Hatch’s ceramic work appropriates imagery from the French baroque rococo and European chinoiserie traditions. As a result of coming to ceramics via drawing and printmaking, Hatch engages representational drawing on the surfaces of the work. She uses the traditional Japanese mishima slip inlay technique to create her detailed calligraphic line on the surface of the work. Exhibiting her work widely throughout the US, she is also a writer and is actively working with various publications specializing in studio ceramics including American Craft Magazine and The Studio Potter Journal. A solo show of her work will be presented at the Bennington Art Museum in November. KRISTEN KIEFER Originally from Louisville, KY Kristen Kieffer now lives and works in Baldwinville MA. Using patterns derived from fabric, jewelry, architecture and furniture of various cultures. Drawing inspiration from various sources her current work is focused on using those drawn from works in metal, specifically, Art Nouveau silver, Islamic brass and American silver. She enjoys the contrast between soft patterns and shapes and the hard nature of the material. A graduate of Alfred University and Ohio State, she works closely with The Studio Potter Journal and teaches workshops and classes at Worcester Center for Crafts, Rhode Island School of Design and most recently Harvard University. SETH RAINVILLE Based in New Bedford MA Seth Rainville's work blends painting, drawing and writing on porcelain tea bowls, teapots and plates. Receiving his degree from UMass Dartmouth, he lived in the Southwest returning to Massachusetts working nearby his former professor Chris Gustin, the featured artist in this year's invitational. His sculptural storytelling teapots will be included in the gallery's upcoming group show presented at SOFA Chicago, THE ILLUSCULPTORS. GWENDOLYN YOPPOLO A current resident artist at the Archie Bray Foundation in Helena, Montana, Gwendolyn Yoppolo received her MFA in Ceramics from Penn State University. Her porcelain vessels, dishes and cooking tools are inspired by biology, the human form and photographs she takes using an electron microscope. "With sensitivity to the wisdom of my body, I translate inner forms into an emptiness that will contain, or offer, or filter, or extend." Christa Assad Tequila Sipper Set 7 x 10 x 9 in. $425 INV #: CAssa-28704
Nicholas Bernard Medium Two Tone Vessel with Facets 9 x 8 in. $225 INV #: NBern-28619
Mary Anne Davis Assorted Dinnerware
Individual items range in price. $244.00 for 5 piece place setting which includes dinnerplate, pasta and cake plates, miso bowl and coffee cup.
Sanam Emami Green and Gold Teapot 6 (Height) in. $280 INV #: SEmam-28733
Steve Godfrey Emperor Goose Family Salt Celler 6 x 9 x 9 in. $250 INV #: SGodf-28788 Emperor Goose Family Salt Celler $250
Chris Gustin Tea Bowl 4 x 4 in. $250 INV #: CGust-28768 Tea Bowl $250
Molly Hatch Bird of Paradise Platter 1.5 x 8 x 12 in. $180 INV #: MHatc-28744 Bird of Paradise Platter $180
Kristen Kieffer Wire Handled Basket, Rosa 7.5 x 4.5 x 3.5 in. $140 INV #: KKief-28719 Wire Handled Basket, Rosa $140
Seth Rainville Ink-ware teabowl 3 x 3.5 in. $150 INV #: SRain-28809 Ink-ware teabowl $150
Gwendolyn Yoppolo Tea for Two Set (5 Pieces) 5 x 14.5 x 5 in. $195 INV #: GYopp-28792 Tea for Two Set (5 Pieces) $195
Artists from THERE are HERE October 8 - 10thLong weekends in the fall mean artists from outside the area are speaking, exhibiting and demonstrating throughout the Berkshires (bonus: incredible leaves to see while you drive between the events)THURSDAY:October 8 6:00 pmHERE - “Ten Years of Re-Imaging North Adams" - Artist Salon - moderated discussion with curators Leslie Ferrin, Ven Voisey, Jonathan Secor discussing the impact of ten years by MASS MoCA as revealed through photography, painting and mixed media (MCLA Gallery 51, North Adams) with artists from both here and there.Artists include: Kay Canavino, Gordon Chandler, Laura Christensen, Joan Diamant, Wendy James, Jaye Fox, Joe Fusaro, Wendy Goldberg, Amanda Hartlage, J.C. Jorgerst, Phelan Levall, Melanie Mowinski, John Mitchell, David Ricci, Greg Scheckler, Nicholas Whitman, and Michael Zelehoski.FRIDAY - SUNDAYLocally Thrown/Locally GrownJoin us, IS183 Art School and potter - sculptor Chris Gustin, featured guest artist for the weekend that includes a benefit dinner, demonstration, artist talks, gallery preview and reception. Proceeds from the events help support the ceramics program that provides work space, classes, demonstrations and workshops at IS183 Art School in Stockbridge.413.298.5252 x 100 to purchase dinner tickets and register for demoFRIDAYDINNER 7:00 at IS183 Art School (Stockbridge) Chef Daniel Mahoney - cocktail party with special guest Chris Gustin, then sit down dinner with locally grown produce (onion tart, butternut squash soup, coq au vin and gnocci, apple tart dessert).SATURDAY, October 10,DEMOChris Gustin potter/sculptorIS183 Art School (Stockbridge)10 to 12:00, Fee: $25ARTIST TALK3:30 p.m. Ferrin Gallery, Pittsfield FREELucy Feller - Digital Collage PhotographyRECEPTIONS4- 6:00 p.m. Ferrin Gallery, Pittsfield, FREELucy Feller, Solo Show - Wish You Were NearChris Gustin - Featured Artist2009 Studio Pottery InvitationalPreview of Group Show Functional Ceramics by American Studio PottersSUNDAYOctober 11, Studio Tour and BrunchProject Art, Cummington $20 for Brunch with Visiting ArtistsTour studios of International Sculptor, Sergei Isupov and Studio Potter, Michael McCarthy Chris Gustin - Featured artist at Locally Thrown /Locally Grown Dinner and Demo at IS183 Art School (Stockbridge) Studio Pottery Invitational 2009, Ferrin Gallery (Pittsfield) Michael Zelehoski - HERE - MCLA Gallery 51, (North Adams) Mary Anne Davis - featured in Studio Pottery Invitational 2009 - Ferrin Gallery (Pittsfield) Locally Thrown/Locally Grown Series of events on Columbus Day Weekend focused on Ceramics- organized by Ferrin Gallery and IS183 Art School
 |
CHRIS GUSTIN: Artist Focus Chris Gustin, acclaimed potter, sculptor and founder of Watershed Center for Ceramics, is the featured artist at Ferrin Gallery's Studio Pottery Invitational. More than 25 new, functional works are on display and available for purchase. Exhibition preview: Saturday, October 10th from 4-6 pm. Ferrin Gallery 437 North Street, Pittsfield MA (413) 442-1622
Locally Thrown/Locally Grown Benefit: Friday, October 9th IS183 Art School 13 Willard Hill Road, Stockbridge, MA 7:00pm - brief talk by Chris Gustin 8:00pm - dinner Fee: $75 (413) 298-5252, ext. 100 to purchase tickets or for more information.
Demonstration: Saturday, October 10th 10am-noon IS183 Art School Fee: $25
Chris Gustin grew up in Los Angeles, California where his family were part owners of several commercial whiteware ceramic manufacturing companies. Immersed in the beauty and function of ceramic tile manufacture from a very young age, Gustin has held a lifelong love of the art of ceramics. Gustin started Gustin Ceramics Tile Production in 1996, and now devotes his full time and energies to his studio work and tile production company in South Dartmouth, MA. Photo caption: Chris Gustin, Vessel #0606, 2006, woodfired stoneware, 34 x 20 x 22"
| Click Here for a Link to Chris Gustin's portfolio of available work at Ferrin Gallery
|
| STUDIO POTTERY INVITATIONAL PREVIEW Saturday preview October 10th, 4-6pm
Studio Pottery Invitational Ferrin Gallery Dates: October 17th - December 31st, 2009 Artist Reception: October 17th, 4-6pm
This exhibition introduces a group of studio potters who have not shown previously at the gallery. Each year ten artists are invited to show a series of 10-25 functional pots that are related by form and surface. These artists live and work across the country but Molly Hatch of Northampton MA and Mary Anne Davis of Chatham NY are local. Davis, who will be presenting an installation involving ceramics, linens and a dinner table, will be available for questions and discussion during the October 10th preview.
Exhibiting artists include: Christa Assad, California Nicholas Bernard, Arizona Mary Anne Davis, Massachusetts Sanam Emami, Pennsylvania Steve Godfrey, Alaska Molly Hatch, Massachusetts Kristen Kieffer, Massachusetts Seth Rainville, Massachusetts Kevin Snipes, Montana Gwendolyn Yoppolo, Montana
Photo caption: Mary Anne Davis, Naked Dishes Installation, detail, 2009, ceramic, sizes vary | Click here for Ferrin Gallery's Studio Pottery Invitational page
|
| LUCY FELLER: Artist Talk and Closing Reception LUCY FELLER Artist Talk Saturday, October 10, 3:30pm
LUCY FELLER: Wish You Were Near - A Postcard Series solo show of digital photographs
Artist Talk and Closing Reception: Lucy Feller presents an artist talk at the gallery at 3:30pm preceding a closing reception in her honor from 4-6pm.
Photo credit: Lucy Feller, Best Riches, 2009, digital photograph, 6 x 4" | Click here for Lucy Feller's Wish You Were Near page on FerrinGallery.com
| --------------------------------------- Use SelfUnsubscribe if you no longer wish to receive emails from us.
Powered by MainStreetMAIL.com ™
|
|