JJHerb@aol.com on thu 28 nov 96
Mr. Hluch seems unaware that Third world villagers do in fact die at rather
amazing rates even when exposed to the pot enhancing Minnesotian beauty
crazing. We are not treated to the news reports of "African villagers wiped
out by pot craze" since they are more frequently dying of the mundane cholera
(a variety of Salmonella) or an exotic movie-based virus or maybe just
starving. I am glad that Mr. Hluch has a sturdy constitution and is willing
to return to the days of uncertain sanitation when significant portions of
the population might succumb to Typhoid. For my self, I believe we should
remove as many hazards as possible from the products we produce. If your
customers really want food poisoning, let them get it off the salad bar at
Denny s - not from a poorly executed pot. If they want to get lead
poisoning, let them lick a battery plate or smoke with pipe dope on their
hands, rather than surprising them with that extra tangy cup of coffee. I
should also point out that someone else s bad practice does not excuse mine.
In a related note, I have been wondering recently what would be the result of
potential studio pottery purchasers reading a few days of posts from here.
It is democratic and nurturing, friendly and helpful, but it is also scary.
We have people, who are seem to be producing a volume of pottery, who find
shivering of glazes to be inconvenient rather than potentially deadly, others
who don t differentiate between shivering and crawling, and someone who may
be seriously considering making flameware, a product fraught with danger for
the consumer. Then there is the current question about whether or not crazing
glazes are appropriate for dinnerware. Ask a homebrewer what goes on in
those crack and crannies. It would be hard to argue against the impression
that there are some number of producing potters who don t know enough or who
don t care enough to make pottery that is safe to use. If that impression is
true, then the difficulties of selling "hand-made" pots can only increase
with time. More and more consumers will be confronted with so-called
functional pots that demand scrutiny and deserve skepticism. Raku
dinnerware, anyone? If there is enough demonstrated incompetence, craft
pottery could be outlawed, regulated, or just ignored by all buyers until it
goes away.
People often feel that the consequences for stupidity are not great enough
and that they certainly aren t sure enough. This assumes that only the
stupid must pay the price for their acts. In the case of ignorance, the
price can also be high and is often borne by an innocent party. The fact
that the event lacks the malice often found among the stupid, does not ease
the tragedy but magnifies it. The knowledge and education to prevent such
events are easier to come by than a significant personality change.
Joseph Herbert
JJHerb@aol.com
Hluch - Kevin A. on fri 29 nov 96
Red Alert! Red Alert! Red Alert!
A cursory inspection of my cup collection finds crazing the in the work
of the following craftspersons: Byron Temple, Sandy Simon, John Reeves,
Walter Keelerr, Mic Casson, Michael Simon, John Maltby, Jim Makins, Linda
Christianson, Jeff Oestriech, Curt Hoard, Chris Staley, Bill Van Guilder,
Mark Pharis, Lisa Naples, Warren Mackenzie, Wayne Branum, as well as
numerous others whose names are not as familiar. On various bowls I have
also found radical amounts of crazing. Some of those guilty are the
following: Sheila Hoffman, Robert Briscoe, Ellen Shankin, Sylvie
Grannateli, Joe Bennion, a bowl from the British potter who wrote the
book on Ash Glazes.
Warning! This is not a all-inclusive list!
Seriously folks.....While I realize that there is disease in Africa,
having lived there for two years, I would suggest that the lack of clean
wate and lack of health care has much more to do with ill-health there than
properly cooked food, whether it's cooked by the "three stone" method or
on a gas range.
Joseph, I think I will risk death by using these beatiful utensils. Just
as I would risk infection by being admitted to the hospital or go camping
in the Appalachian mountains.
I would prefer a less hysterical response to my question about the risks
of using crazed pottery. "Inquiring minds want to know".
Skeptically yours and the USDA says don't eat the stuffing,,
Kevin A. Hluch
Frederick, MD
PS. The average life expectancy for Kenyans is 55...That is their
retirement age as well.....A policy we should emulate to resolve our
Social Security/medicare dilemma?
On
Thu, 28 Nov 1996 JJHerb@aol.com wrote:
> ----------------------------Original message----------------------------
> Mr. Hluch seems unaware that Third world villagers do in fact die at rather
> amazing rates even when exposed to the pot enhancing Minnesotian beauty
> crazing. We are not treated to the news reports of "African villagers wiped
> out by pot craze" since they are more frequently dying of the mundane cholera
> (a variety of Salmonella) or an exotic movie-based virus or maybe just
> starving. I am glad that Mr. Hluch has a sturdy constitution and is willing
> to return to the days of uncertain sanitation when significant portions of
> the population might succumb to Typhoid. For my self, I believe we should
> remove as many hazards as possible from the products we produce. If your
> customers really want food poisoning, let them get it off the salad bar at
etc,etc,etc.
ktighe on fri 29 nov 96
Joseph: Lighten up. Your anger is palpable. Everyone is stupid but you.
I roast chickens in a ceramic platter that I made and fired myself. After
ten years it shows some crazing. You'd kill to taste one of my chickens
stuffed with a whole lemon and handfuls of fresh herbs. Of course how
could you taste anything with your head buried ostrich-like? Maybe we
should return to the 1950's bomb-shelter mentality --Ken
LINDA BLOSSOM on sat 30 nov 96
Dear Kevin et al,
Amusing post - I found comfort in reading it. I wonder if a short soak in
a rinse water containing a small amount of clorox might not solve the
problem. When I taught at a nursery school, we used regular dishes and
utensils rather than disposals and the health dept just said to give them a
10 or 15 second soak.
Linda Blossom
2366 Slaterville Rd.
Ithaca, NY 14850
blossom@lightlink.com
http://www.artscape.com
607-539-7912
Evan Dresel on sat 30 nov 96
At 11:12 AM 11-28-96 EST, Joseph Herbert wrote (among other things):
>----------------------------Original message----------------------------
>In a related note, I have been wondering recently what would be the result of
>potential studio pottery purchasers reading a few days of posts from here.
> It is democratic and nurturing, friendly and helpful, but it is also scary.
> We have people, who are seem to be producing a volume of pottery, who find
>shivering of glazes to be inconvenient rather than potentially deadly, others
>who don t differentiate between shivering and crawling, and someone who may
>be seriously considering making flameware, a product fraught with danger for
>the consumer. Then there is the current question about whether or not crazing
>glazes are appropriate for dinnerware. Ask a homebrewer what goes on in
>those crack and crannies. It would be hard to argue against the impression
>that there are some number of producing potters who don t know enough or who
>don t care enough to make pottery that is safe to use. If that impression is
>true, then the difficulties of selling "hand-made" pots can only increase
>with time. More and more consumers will be confronted with so-called
>functional pots that demand scrutiny and deserve skepticism. Raku
>dinnerware, anyone? If there is enough demonstrated incompetence, craft
>pottery could be outlawed, regulated, or just ignored by all buyers until it
>goes away.
>
>Joseph Herbert
>JJHerb@aol.com
>
>
Sorry Joseph but I have to side with Kevin on this one. Yes there are risks
of using improperly formulated glazes and we should make reasonable efforts
to minimize them. Pottery paranoia, is IMO unwarranted, however, and I hear
a lot of percieved risk with little data to support it. I do not feel that
there is much risk from using most non-lead glazed pottery (I have some
problems with the data about lead risk, also but that's another story). By
the way, the Sierra Club magazine a year or so back, recommended switching
to glass plates and cups because, essentially, there **might** be a problem
with your pottery. I consider that irrisponsible hysteria.
So let's talk about bacteria. They are ubiquitous in the environment, and
certain ones can be harmful. Now I have a cup that has a crazed glaze. So
maybe some water containing some nutrients and some bacteria could get
caught in that space. I don't see how there is much potential for them to
reproduce rampantly and then migrate back out into my tea in any significant
quantity before I drink it. No, I have no empirical data, but It sure seems
to me that I am at least as likely to injest bacteria that land in the cup
as I sip (don't forget the critters had to get into those cracks from
somewhere). The number of bacteria that could infect my tea are probably
insignificant -- and the number of bacteria present are important -- ask
that homebrewer.
So for myself, I don't use lead, barium or uranium in spite of my unresolved
questions about the risks, I try to use glazes that fit and will work to
improve the fit, and I continue to enjoy the use of ceramic products which
have some crazing rather than sticking to Pyrex. I don't wash my teapot in
detergent, either. By the way, the homebrewers have a saying, "Relax, don't
worry, have a homebrew." If you get up this way, you are welcome to stop in
for one.
-- Evan in eastern Washington where the Chinook wind melted most of our
snow in a few hours.
Craig Martell on sat 30 nov 96
Hi Kevin: Presenting a list of known ceramists that have made crazed pieces
does not render the problem acceptable or without risk. Perhaps this only
points out the far reaching nature of the problem, and I do believe that
crazing on functional ware is a problem. I have taken workshops and talked
with some of the folks on your list and while I have great respect for many
of them, some do not appear to have much concern for answers to technical
questions that arise in the task of producing useful pots. The thing that
concerns me is not so much that there are crazed glazes in the world, but
rather the lack of concern and the unwillingness of many to at least attempt
finding a solution to the problem. We do have the information and ability to
make glazes that fit balanced clay bodies and there are many among us that
would be very willing to assist in the process. I really have no idea what
the risk factor is with crazed glazes. I do know that the mechanical
strength of a piece lessens if the glaze does not fit. I also know that,
depending on the composition of the glaze, the prospect of heavy metal
leaching greatly increases with a crazed glaze, so I always try to make my
glazes fit. I don't always succeed, but I try.
I am not angry, hysterical, or self righteous about this issue, and I do
understand some of the points that you have brought up. I do feel that those
of us who produce pots to serve and prepare food in could at least try to
solve some of these often irritating technical problems that arise. I don't
mean to imply that there is a total lack of concern and willingness to
correct these problems, but I have talked with many potters who would like to
learn the methods of adjusting glazes to fit their clay bodies, but just
can't afford the time. All I am saying is, without getting angry, or nuts,
we can at least discuss the issue and share information about making things
work better.
Still working on those delayed crazers, Craig Martell-Oregon
Tony Hansen on sun 1 dec 96
I agree with Craig about this crazing thing.
Some say "I don't care", others "I care but let's get real", others
"Joe so-and-so does it this way
and that's good enough for me", others "but what can we do?" others
"Tell me more?"
Maybe our problem is with attitude rather than pots.
When I am a customer of ceramics I want to buy ware from a potter
with the right attitude about
crazing, even though his ware may not be quite perfect, yet. I've
worked on thousands of cases like
this. Some people really want to improve the technical quality of
their ware and feel responsible
for it, others just don't. I know which potters I would recommend
to others for functional ware.
On crazing and strength: I've tested this so many times. I've
measured a 500% difference in ware
strength between a worst fit and best fit situation.
-
Tony Hansen, IMC - Publishers of INSIGHT/FORESIGHT/Magic of Fire
134 Upland Dr., Medicine Hat, Alta T1A 3N7 Canada
Phone:403-527-2826 FAX:527-7441 Web: http://digitalfire.com/imc.html
Cathy Nelson Hartman on sun 1 dec 96
Tony Hansen wrote that crazed ware is 5 times weaker than non-crazed
ware. Proof please and definition of "strength". Almost all pottery crazes
if subjected to any heat-be it boiling water for tea or baking in the
oven. I seriously doubt the claim about 500 % more strength. But please
tell us about your measurements.
Walter
Walter Hartman full time studio potter since 1973
cone 10 porcelain
90% functional work
Hartman Pottery oxidation in gas kiln
1600 Willowwood sell all work at art fairs
Denton, TX 76205 work by myself
(817) 382-1083
e-mail: cnh0002@jove.acs.unt.edu
Tony Hansen on mon 2 dec 96
>I seriously doubt the claim about 500 % more strength loss from crazing glazes.
Don't doubt. Believe.
I have access to a strength testing device and industrial lab pugmill. I
can extrude specimens of minimal lamination that will break within a 10%
strength range. A typical cone 10 iron stoneware, for example, will have
an unglazed tensile strength of 3000 lbs/sq inch. I've seen poorly
fitted glazed specimens of the same clay take that down to 1000, and a
well fitted glaze take it up to 5,000. That's five times. I admit, this
is probably not typical. A 300% difference between worst and best fit
would be more normal with a buff stoneware. A porcelain might only be
200%.
=================================================================
Tony Hansen, IMC - Publishers of INSIGHT/FORESIGHT/Magic of Fire
Get INSIGHT 5 beta at http://digitalfire.com/insight5.htm
Bill Aycock on mon 2 dec 96
At 11:08 PM 12/1/96 EST, you (Walter) wrote:
>----------------------------Original message----------------------------
>Tony Hansen wrote that crazed ware is 5 times weaker than non-crazed
>ware. Proof please and definition of "strength".
Walter- This NOT what Tony wrote!! I wish you would learn to read more
carefully before casting such strong doubts on one of the most professional
Ceramics technicians around. What Tony said was:
On crazing and strength: I've tested this so many times. I've
measured a 500% difference in ware
strength between a worst fit and best fit situation.
This is a DIRECT quote (ie, copy) of his statement.
There is a world of difference in what you attribute and what he said. You
claim to have been a full time studio potter since 1973-- even so, I doubt
you have ever used the type of equipment he uses for these measurements, and
I doubt that 99% of the studio potters around have ever even seen any. Most
of us have never done the type of testing he does routinely, even in school.
He does do this kind of work professionally (ie, for money).
Bill, a little bit "crazed" himself, on Persimmon Hill
>
>
>
>Walter Hartman full time studio potter since 1973
> cone 10 porcelain
> 90% functional work
>Hartman Pottery oxidation in gas kiln
>1600 Willowwood sell all work at art fairs
>Denton, TX 76205 work by myself
>(817) 382-1083
>
>e-mail: cnh0002@jove.acs.unt.edu
>
>
Bill Aycock --- Persimmon Hill --- Woodville, Alabama, USA
--- (in the N.E. corner of the State)
also-- W4BSG -- Grid EM64vr
Cathy Nelson Hartman on mon 2 dec 96
Concerning my questioning Tony Hansen's comments about crazing and the
subsequent letter redressing me for misrepresenting Tony's statement, I
apologize for my implication that he said ALL crazed ware was 5 times
weaker.
However the implication, in the context of the conversation on the
group,is that crazed ware has strength deficiencies which are of concern
to the real world potter. What does "Bill" have to say about my inference?
Almost all pottery glazes craze at some point in their lives.
I have made thousands of pots over the years, many of whom have crazed. I
have never known or seen a pot that cracked due to the crazing. Crazing is
a visual defect for sure. And could be a sanitary concern for food serving
ware. I'm against crazing!!! But I don't believe the difference in
crushing strength is a problem to be concerned with.
And I proofread my comment in honor of "Bill"'s request that I read more
carefully. By the way, who the hell is Bill?
Walter
Walter Hartman full time studio potter since 1973
cone 10 porcelain
90% functional work
Hartman Pottery oxidation in gas kiln
1600 Willowwood sell all work at art fairs
Denton, TX 76205 work by myself
(817) 382-1083
e-mail: cnh0002@jove.acs.unt.edu
Richard Burkett on tue 3 dec 96
Walter Hartman says (amoung other things about crazing and clay strength):
>Almost all pottery glazes craze at some point in their lives.
This is not necessarily true. A well fitted glaze which is under slight
compression on a nearly vitreous body should survive eons without crazing
under normal household use. Most potters "non-crazing" glazes don't really
fit this requirement, however, for a number of reasons. One likely one is
that the clay body is too porous, which often leads to delayed crazing as the
body slowly absorbs moisture and expands ever so slightly. The porosity of
the clay body may also negatively affect the strength of the ware.
The other possibility in delayed crazing is the that the glaze isn't under
quite enough compression - and it may be narrow line between just enough
compression to prevent crazing, and too much compression which results in
shivering. You may face a situation that requires rigid controls over
materials, procedures, and firing if you want ware that never crazes.
The Disclaimer: This is not to say that I feel you all need to start making
porcelain, firing in oxidation, and using industrially bland glazes. There is
a reason that industrial production generally looks the way it does, and a
lot of that comes from too great of a focus on technical issues than on
aesthetic ones.
Richard
Richard Burkett - School of Art, Design, & A.H, SDSU, San Diego, CA 92182-4805
E-mail: richard.burkett@sdsu.edu <-> Voice mail: (619) 594-6201
Home Page: http://rohan.sdsu.edu/dept/rburkett/www/burkett.html
CeramicsWeb: http://apple.sdsu.edu/ceramicsweb/index.html
Bill Aycock on tue 3 dec 96
At 11:34 PM 12/2/96 EST, you ( Walter ) wrote: *** in parts ***
>----------------------------Original message----------------------------
>However the implication is that crazed ware has strength deficiencies
which are of concern to the real world potter. What does "Bill" have to say
about my inference?
Simple- I hate "absolutes" because they are seldom worth much, so this is
NOT a cop-out. My belief is that crazing makes a piece weaker than it could
be, but not neccessarily weaker than it needs to be. Most cases of crazing
in our everyday experience are minor, and of more concern for sanitary
reasons than structural. I do not agree with all of Tonys position in this
regard, but I DO NOT presume to dispute anything technical with him. I do
agree with his position that a person making and selling clay ware owes it
to his buying public to protect them from danger from flaws in what he produces.
>almost all pottery glazes craze at some point in their lives.
This is a claim that is easily disputed, at least by me. I have visited a
number of museums containing pottery that shows no crazing, despite having
been misshandled, buried and used for years. In my collection of pots from
others, there are more that are not crazed than that are.
>I have made thousands of pots over the years, many of whom have crazed.
Me too, but I have made many that have not, also. I have at least one cup I
have used for years (frequent dishwasher trips) that shows no crazing. After
the handle broke off, my wife used it for washing pens (drawing ink) and
THAT will show crazing if its there.
>. By the way, who the hell is Bill?
Bill is a retired Aerospace Engineer, who was an adequate and successful
part-time potter until circumstances stopped that activity, over twenty
years ago. He has returned to his earlier love for things clayey, and had
reached the point of near-adequacy (his own opinion) and had re-established
a pretty good glaze stable, with new, current materials, when he was slowed
down by Peripheral Neuropathy. During his previous existence as a potter,
despite being "part time" he was considered a peer by quite a few
professional potters, and frequently was consulted on glaze problems (he
could do arithmetic and "Insight" was not there) and studio equipment
design. He is hopelessly "drawing challenged" but is pretty good on form.
His prefered venue is ^6 Oxidation.
>
>Walter
>
By the way, who the hell is Walter? (Never mind- his signature file does
give a good thumbnail description; more concise than the rambling I did above)
>
Bill- sitting on Persimmon Hill, catching up on mail, etc.
Bill Aycock --- Persimmon Hill --- Woodville, Alabama, USA
--- (in the N.E. corner of the State)
also-- W4BSG -- Grid EM64vr
Craig Martell on wed 4 dec 96
In a message dated 96-12-03 23:27:12 EST, Richard Burkett wrote
<< There is
a reason that industrial production generally looks the way it does, and a
lot of that comes from too great of a focus on technical issues than on
aesthetic ones. >>
I agree with this totally. The teacher that taught me to make and calculate
glazes told us that if we always followed "Limit Formulas", we would always
be limited in what we came up with. You need to know what you are doing, as
in having a good grasp of technical stuff, or having a good support base.
You also have to be prepared to go beyond accepted limits to come up with
the unusual. I need to make some more test tiles!
Good Hunting!! Craig Martell-Oregon
Eleanora Eden on thu 5 dec 96
I see alot of my pots around from the early '70s when i was doing
stoneware and the stuff looks as good as new, no crazing at all.
Since this discussion came up I've been looking rather closely.
Eleanora
Eleanora Eden 802 869-2003
Paradise Hill
Bellows Falls, VT 05101 eden@maple.sover.net
[the address fga@world.std.com is temporary. My mailbox at
eden@maple.sover.net still works -- do not change address books]
LBCLAY@aol.com on fri 6 dec 96
me too,,,i've been following the thread about crazing (how can u not)...and
I've thought,,,wow,,i'm lucky,,my glazes don't craze,,,then someone
said.."ALL glazes craze at some point or another"..so i started looking at
some of my old pots...Nope,,no crazing,,,then the more i read about all these
crazing pots,,i thought maybe mine are but I just don't see it ,,so I'd look
and look and it made me a little crazed. LOL but now i've decided and
determined that mine are not crazed at all...
Hey Eleanora,,,maybe it's something about Vermont....
Have a good day folks!
Omer Artun on sat 7 dec 96
You can make a simple test of crazing, take a very fine point heavy
object and bang it on your glaze, if the cracks opened are concentric
circles
then your glaze is compressed if the cracks are outgoing then it is
probably crazed.
if glaze is not in compression, think of it as a very tight jean you
wear you will most certainly tear it after extensive use, while a nice
fitting jean will not exhibit same type of behaviour.
Tony Hansen wrote:
>
> ----------------------------Original message----------------------------
> >I seriously doubt the claim about 500 % more strength loss from crazing glaze
>
> Don't doubt. Believe.
> I have access to a strength testing device and industrial lab pugmill. I
> can extrude specimens of minimal lamination that will break within a 10%
> strength range. A typical cone 10 iron stoneware, for example, will have
> an unglazed tensile strength of 3000 lbs/sq inch. I've seen poorly
> fitted glazed specimens of the same clay take that down to 1000, and a
> well fitted glaze take it up to 5,000. That's five times. I admit, this
> is probably not typical. A 300% difference between worst and best fit
> would be more normal with a buff stoneware. A porcelain might only be
> 200%.
>
> =================================================================
> Tony Hansen, IMC - Publishers of INSIGHT/FORESIGHT/Magic of Fire
> Get INSIGHT 5 beta at http://digitalfire.com/insight5.htm
OMER BERAT ARTUN
Institute for Brain and tel: 401 421 2879 (home)
Neural Systems, 401 863 3920 (office)
Department of Physics 401 863 3494 (fax)
Box 1843
Brown University URL: http://www.physics.brown.edu/people/artun
Providence RI 02912 e-mail: artun@cns.brown.edu
Ron Roy on sun 8 dec 96
>----------------------------Original message----------------------------
>In a message dated 96-12-03 23:27:12 EST, Richard Burkett wrote
>
><< There is
> a reason that industrial production generally looks the way it does, and a
> lot of that comes from too great of a focus on technical issues than on
> aesthetic ones. >>
>
>I agree with this totally. The teacher that taught me to make and calculate
>glazes told us that if we always followed "Limit Formulas", we would always
>be limited in what we came up with. You need to know what you are doing, as
>in having a good grasp of technical stuff, or having a good support base.
> You also have to be prepared to go beyond accepted limits to come up with
>the unusual. I need to make some more test tiles!
Calculation can and is being used to develop glazes outside the "limits."
Just another way to get what you want. For instance if you know which
oxides are best for the colors you are looking for. Certainly a better way
to approach the elimination of crazing and keep the same look - well not
always but certainly faster than guessing.
I think this apparent focus on the technical is just some catching up we
have to do because it has been so ignored by so many for so so long.
Ron Roy
Toronto, Canada
Evenings, call 416 439 2621
Fax, 416 438 7849
Charles Williams on sun 8 dec 96
I just returned from Chicago where I toured the Asian Section of the Art
Institute. Not all, but the vast majority of pottery demonstrated extensive
crazing. Some pieces were obviously decorative, but many were functional. I
do not submit this observation to argue either side of the debate over safety
of crazed ware, rather as an observation!
Pot Safely!
C Wilyums AKA Mississippi Mudcat Pottery
Akita-jin \"Lee Love\" on mon 9 dec 96
Charles Williams wrote:
> I just returned from Chicago where I toured the Asian Section of the Art
> Institute. Not all, but the vast majority of pottery demonstrated extensive
> crazing. Some pieces were obviously decorative, but many were functional. I
> do not submit this observation to argue either side of the debate over safety
> of crazed ware, rather as an observation!
>
> Pot Safely!
Charles,
How could those ol' Chinese pots be all that safe, crazed or no: All
those Chinese that made and used them are long dead! ;^)
====================================================
/(o\ Lee Love In "St. Paul", MN ' Come see some pixs of my AkitaPup:
\o)/ mailto:LeeLove@millcomm.com ' http://www.millcomm.com/~leelove
mailto:AkitaJin@Cryogen.com ' "It gets late early out there."
-Yogi Berra-
Richard Burkett on tue 10 dec 96
Ron Roy wrote about the recent crazingness:
>I think this apparent focus on the technical is just some catching up we
>have to do because it has been so ignored by so many for so so long.
I would heartily agree, Ron. There are rules for a reason, and certainly
reasons to break the rules once in a while (art offers lots of reasons). But
ignorance is no excuse.
Richard Burkett - School of Art, Design, & A.H, SDSU, San Diego, CA 92182-4805
E-mail: richard.burkett@sdsu.edu <-> Voice mail: (619) 594-6201
Home Page: http://rohan.sdsu.edu/dept/rburkett/www/burkett.html
CeramicsWeb: http://apple.sdsu.edu/ceramicsweb/index.html
Hluch - Kevin A. on tue 24 dec 96
Thus far, I have not received a single "gastrointestimonial" concerning
illnesses that can be attributed to crazed pottery. I'm still waiting,
but less expectantly.
Also, not a single crazed pot has arrived in the mail.. Just stuff from
relatives and friends related to the season. :(
Happy Holidays to those who celebrate.
Kevin A. Hluch
On Tue, 10 Dec 1996, Richard Burkett wrote:
> ----------------------------Original message----------------------------
>
> Ron Roy wrote about the recent crazingness:
> >I think this apparent focus on the technical is just some catching up we
> >have to do because it has been so ignored by so many for so so long.
>
> I would heartily agree, Ron. There are rules for a reason, and certainly
> reasons to break the rules once in a while (art offers lots of reasons). But
> ignorance is no excuse.
>
> Richard Burkett - School of Art, Design, & A.H, SDSU, San Diego, CA 92182-4805
> E-mail: richard.burkett@sdsu.edu <-> Voice mail: (619) 594-6201
> Home Page: http://rohan.sdsu.edu/dept/rburkett/www/burkett.html
> CeramicsWeb: http://apple.sdsu.edu/ceramicsweb/index.html
>
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