Chris Stanley on sat 26 jul 97
Oh boy, oh boy, oh boy:
We just got our video copy of "Shoji Hamada, a potter's way and work"
narrated by Susan Peterson from Axner's pottery supply. You know Mel, he
was left handed. 15 years ago I saw some of this edited version when I
was a wee pup. Watching it the other night was like a giagantic flashback
to my first experiences working with clay.
Here are my questions:
1. Where do you get those groovey Hamada glasses?
2. Does anyone have a recipe for the rice dish they serve at the end of the
firing?
3. If anyone has seen one of those hugh bowls that Shoji was glazing,
please send an estimate of how
large they actually were.
I would highly recommend this video to anyone who is a teacher of Ceramics
and, or Art History.
Peas,
Xris
Christopher John Stanley
Assistant Professor of Fine Art
stanley_c@utpb.edu
The University of Texas of the Permain Basin
4901 East University
Odessa, Texas 79762-0001
Lisa or Ginny on sun 27 jul 97
Chris Stanley wrote:
> We just got our video copy of "Shoji Hamada, a potter's way and work"
> narrated by Susan Peterson
I haven't seen this one, but I _Have_ seen one called the Art of the
Potter, and it's awesome. The recent quest for the identity of the God
or Saint of pottery reminded me of what appeared to be an offering to the
kiln god Hamada made before the firing started. Velly intellesting...
> Here are my questions:
> 1. Where do you get those groovey Hamada glasses?
With our luck, they were designed by Versace. :(
> 2. Does anyone have a recipe for the rice dish they serve at the end of the fi
Have you checked the back of your Minute Rice box?
> 3. If anyone has seen one of those hugh bowls that Shoji was glazing,
> please send an estimate of how large they actually were.
They LOOK like they're about 2' across. I feel an inspiration coming
on.....
--
Lisa Skeen
Living Tree Pottery & Soaps
http://www.uncg.edu/~lpskeen
YesIAmRU?
Dennis Davis on mon 28 jul 97
Chris Stanley wrote:
>
> ------------Original Message---------------------
> We just got our video copy of "Shoji Hamada, a potter's way and work"
>....... he was left handed.
I checked the photos in the two books I have on Hamada (HAMADA by Leach
and SHOJI HAMADA by Peterson) and he is doing his decoration with brush
in the right hand. Was he left-handed or just throwing clockwise?
Mel Jacobson on tue 29 jul 97
to the best of my memory i would say that he is right handed...very few
naturally born japanese are left handed...they are switched at birth as it
impossible to write the language left handed. (at least brush lettering)
and for sure, those born during hamada's time would be right handed...all
wheels in japan go clockwise. mel.mn
http://www.pclink.com/melpots
stevemills on tue 29 jul 97
So far all the Oriental Potters I have met have thrown clockwise,
regardless of which way handed.
Steve.
In message , Dennis Davis writes
>----------------------------Original message----------------------------
>Chris Stanley wrote:
>>
>> ------------Original Message---------------------
>> We just got our video copy of "Shoji Hamada, a potter's way and work"
>>....... he was left handed.
>
>I checked the photos in the two books I have on Hamada (HAMADA by Leach
>and SHOJI HAMADA by Peterson) and he is doing his decoration with brush
>in the right hand. Was he left-handed or just throwing clockwise?
>
--
Steve Mills
@Bath Potters Supplies
Dorset Close
Bath
BA2 3RF
UK
Tel:(44) (0)1225 337046
Fax:(44) (0)1225 462712
KDrescherg on wed 30 jul 97
I learned from Ken Beittel who taught in a East/ West method. We learned
on kick wheels to throw tea bowls off the hump. We had a specific ritual
in which we formed our teabowls. Basically we turned the wheel clockwise
to center, form the fixed quantity, open, choke, then thin out the walls,
finish the rim. Then stop the wheel and turn it counter clockwise to use
the oshibera(wooden handmade rib formed to fit the curve of the bowl) in
the right hand to fianalize the shape of the bowl. All shaping of forms
was done in this counterclockwise direction with the right hand. Shimpos
worked great in this studio after one learned on the kickwheel. I do not
use this method no;. but use many of the same principles.
C.Greenman
kdrescherg@aol.com
kinoko@junction.net on wed 30 jul 97
Steve, Yarsago,in Japan I made a slight stir when it was discovered that I
threw left-handed. This was quite normal for me since I AM left-handed and
the Japanese kickwheel is not only spun clockwise but spun using both feet.
Not an easy trick to become used to. There has been a tory around for many
years that Hamada-sensai had such a long toso and such short legs, that he
could not kick his own whel but had an apprentice do the work. While I
cannot vouch for the story,I do know that there s a Korean wheel which is
operated by a second person by means of rope and pulley....usually the
potters wife,(the unsung hero of the piece.) 1971(?), Isao and I attended a
lecture at the local high school presented by Hamada. we were with a young
man we had met in a local coffee shop: Gerd Knapper,now considered an
eminent Japanese potter. I seem to recall that Hamada spoke on Korean ware.
A few days later, I had the pleasure of having lunch at the kiln with the
workers, Hamada having left for New York. Surely,the old man had a grat deal
of influence on me,as did Bernard Leach, Tomimoto and,later, Shimaoka. Don M.
>----------------------------Original message----------------------------
>So far all the Oriental Potters I have met have thrown clockwise,
>regardless of which way handed.
>Steve.
>
>In message , Dennis Davis writes
>>----------------------------Original message----------------------------
>>Chris Stanley wrote:
>>>
>>> ------------Original Message---------------------
>>> We just got our video copy of "Shoji Hamada, a potter's way and work"
>>>....... he was left handed.
>>
>>I checked the photos in the two books I have on Hamada (HAMADA by Leach
>>and SHOJI HAMADA by Peterson) and he is doing his decoration with brush
>>in the right hand. Was he left-handed or just throwing clockwise?
>>
>
>--
>Steve Mills
>@Bath Potters Supplies
>Dorset Close
>Bath
>BA2 3RF
>UK
>Tel:(44) (0)1225 337046
>Fax:(44) (0)1225 462712
>
>
*****************************************
*****************************************
** Don and Isao Morrill **
** Falkland, B.C. **
** kinoko@junction.net **
*****************************************
*****************************************
Robert Yellin on wed 30 jul 97
Robert Yellin wrote:
> The figure of Shoji Hamada is indeed legendary,
as you all know along with Kawai,Tomimoto, and Yanagi,
brought simplicity and grace back to potting ways that
were leaning toward overdecorated stlyes of the late
Meiji period. Hamada, was an international fellow indeed,
but his heart never left the small town of Mashiko.
>Before Hamada arrived it was an almost forgotten place that made teapots and he
many restaurants in Tokyo. Hamada said that a pot should
>be able to roll down a hill and remain intact- the wares were to be used- not
the pricey tea utensils that often sit in signed
wooden boxes or fancy tea chests.
>friend of mine from Mashiko, who was an apprentice of Tatsuzo Shimaoka- Hamada'
and now a Living National Treasure,told me that 80% of what
>is being made in Mashiko right now is not Mashiko-yaki, but Hamada-yaki. His st
his presence has never left- so my friend decided to break
away from Hamada-yaki and now fires Shino, Oribe, and Bizen
even though he lives right around the corner from Hamada's
place- which I would not call a factory.
Today, Shimaoka has a large staff of a dozen or so and
so many of his pieces are made by others-
>all he does is a few brush marks and signs the all-important box.
>I see many Hamada pieces and more Shimaoka ones at auctions all the time. If a
Shimaoka or for that matter any artist or stlye- do let me know.
Anyway, from under an overcast Nippon sky sipping morning green tea-
> Robert Yellin
Robert Yellin on wed 30 jul 97
The figure of Shoji Hamada is indeed legendary,
as you all know, along with Tomimoto, Kawai,
and Yanagi, he rediscovered and preserved pottery
that had simple grace that would have fallen by
the kilnside unless he and his pals rescued it from
'modernazation' and the overdecorated wares of the late
Meiji period.
Hamada was an international fellow, there is no question
about that- he entertained many a diplomat and collectors
from around the world. yet, his heart never left the small
town of Mashiko. Before he had arrived it was an almost
forgotten place that had made teapots and heavy
dishes that once supplied many roadside and standard
restaurants in the Tokyo area. Hamada said that a pot
should be able to roll down a hill and remain intact-
the wares were made to be used, not like the pricey tea
utensils that often sat in signed wooden boxes(cages) or
in fancy tea chests. Hamada made Mashiko what it is today,
so much so that a potter friend of mine who was an appren-
tice to Hamada's number one understudy,(Tatsuzo Shimaoka, the
current Mashiko Living National Treasure)said that 80% of the
output of Mashiko shouldn't even be called Mashiko-yaki but
Hamada-yaki. So my friend abandoned making 'Mashiko-yaki' and
now fires Shino, Oribe, and Bizen even though he lives just
around the corner from Hamada's compound. Today, Shimaoka has
a large staff that makes most of his pieces- he just whips on his
trademark designs and signs the boxes and sells them for small
fortunes. I see Hamada and Shimaoka pieces at auction quite often
for 'reasonable' sums- if anyone is interested in acquiring a
Hamada or Shimaoka or for that matter any Japanese potter or style-
do let me know, after thirteen years here I have an extensive net-
work of places to turn to.
Also, I know a few potters that would like to exhibit in the States-
if you know of any galleries that would be interested, please give
them my e-mail address.
Anyway, from a still Nippon night-
Robert Yellin
Hendrix, Taylor J. on fri 12 jul 02
Greetings,
Does Shoji Hamada still live?
Taylor
R. E. Tester on fri 12 jul 02
He went to join the rest of the Shinto gods on 5 January 1978
-R
Elca Branman on fri 12 jul 02
Alas,only in our hearts
Elca
On Fri, 12 Jul 2002 13:26:09 -0500 "Hendrix, Taylor J."
writes:
> Greetings,
>
> Does Shoji Hamada still live?
>
>
> Taylor
>
>
_________________________________________________________________________
_____
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your
> subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
Elca Branman,in Sarasota Florida
elcab1@juno.com
________________________________________________________________
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Kym Valvieja on sat 13 jul 02
Dear Taylor,
Shoji Hamada is not alive today but lives on through his incredible work
(1894-1978).
Check out the book on his work and life by Bernard Leach (ISBN
0-87011-828-5).
Kym Valvieja
John Baymore on sat 13 jul 02
Taylor,
Hi.
Does Shoji Hamada still live?
I assume that you are asking about Hamada Shoji? Unfortunately, he died =
in
78 if I remember correctly. His first son in pottery, Hamada Shinsaku, i=
s
still living and potting in Mashiko. Shinsaku's son, Toomo, is also a
potter..... still working with his father.
I got a rumor recently from a Japanese potter from Mashiko visiting my
studio briefly that Hamada Shinsaku is not all the well right now. He is=
getting quite old. When I visited Hamada-sensei in 1996.... he was as ol=
d
as Hamada Shoji was in "my mind" from seeing interviews and movies and
such. That was sort of a shock . I think Hamada Shinsaku is in his
80's now.
I will be in Mashiko soon.... and will likely learn a bit more about
Shinsaku's health.
Best,
..............................john
John Baymore
River Bend Pottery
22 Riverbend Way
Wilton, NH 03086 USA
603-654-2752 (s)
800-900-1110 (s)
JohnBaymore.com
JBaymore@compuserve.com
"DATES CHANGED: Earth, Water, and Fire Noborigama Woodfiring Workshop =
August 23 - September 1, 2002"
don hunt on thu 10 oct 02
Do you think it shows lack of ego to not sign your pots or is it a
Japanese thing that has another meaning?
Don Hunt
June Perry on fri 11 oct 02
Actually, Hamada signed the boxes and that is the providence. That is a
common practice with many potters in Japan.
I have a lovely, small, slab vase from Shimaoka and he signed the inside lid
of the box. The box may have a marking; but I'm not sure. If it is, it's not
very clear. It could just be a depression in the clay or it may be be a
small stamp mark under the thick white glaze on the bottom.
It is purported that Hamada once said that people would attribute the good,
unsigned pots to him and the bad ones to someone else! LOL
Regards,
June Perry
http://www.angelfire.com/art2/shambhalapottery/index.html
Chris Rupp on fri 11 oct 02
My personal opinion, from a collecting standpoint, is that you SHOULD sign
your pots ALWAYS. Whether it be a stamp or an actual signature, I think it
is very important. If you don't like the piece that came out, then destroy
it before it goes to market.
Warren MacKenzine does not sign his pieces any longer. What good does that
do anyone including himself? Why not claim ownership for your work? For this
very reason I will no longer buy work from him. I would rather search out
older work with his stamp because in the long term, the signed piece will be
worth something if I ever decide to sell it.
Hamada had his own theory on the matter, but he was living in a different
time. His pots stood out as "Hamada" among the other work being produced at
the time. However, look at all the problems that have resulted now from a
collecting standpoint. In Japan you cannot sell a piece of Hamada if it does
not have the original box, or at least the lid, which is signed, as it is
the only means or proving that the work is Hamada's. I have come across many
pieces which have the name "Hamada" attached to them, yes they look like his
work, yes the glazes are correct and the style is appropriate, but there is
really no way of knowing for sure without the box. The biggest problem in
America is that so many Americans in the past did not realize how important
the box was and they threw it out. So there are lots of pieces floating
around America that lack their only means of provenance.
Chris
Sunny Santa Barbara
>From: don hunt
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Hamada
>Date: Thu, 10 Oct 2002 20:47:03 -0700
>
>Do you think it shows lack of ego to not sign your pots or is it a
>Japanese thing that has another meaning?
>
>Don Hunt
>
>______________________________________________________________________________
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
_________________________________________________________________
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Gavin Stairs on fri 11 oct 02
All this stuff about ego.
In the American context, we talk about a "healthy" ego.
In the context of self development, we talk about killing the ego.
In the East generally, they don't understand ego in the same terms as we do
in the west. The self comes in several flavors, which are tied to various
properties of individual nature. At the core is a featureless essential
nature. Then there's a layer of inborn traits. Then a bunch of acquired
traits. And so on. The thing we call ego is sort of split amongst these
layers. As long as you are in life, you hold on to some of these. They
are what we might call personality.
Ego is just our (actually Freud's) model of a certain aspect of mind. The
key phrase is model. That means an applied theoretical structure. Better
to look at those around you, and those of whom you have read, as in
literature and hagiography. What of those whom you admire greatly? How
do/did they act? Do they seem egoless?
When we talk of ego, we are usually speaking about the obtrusive, grating
aspects of personality. An ego as big as a house.
An ego under control is merely a matter of style. An ego out of control is
more like a hurricane, to mix a metaphor or two.
So what do you mean by lack of ego? Hurricane or style?
Gavin
At 08:47 PM 10/10/2002 -0700, you wrote:
>Do you think it shows lack of ego to not sign your pots or is it a
>Japanese thing that has another meaning?
>
>Don Hunt
>
>______________________________________________________________________________
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
claybair on fri 11 oct 02
Interesting Chris,
I recently did a workshop with a very successful potter.
He admitted that he no longer signs his work....
that is relegated to an assistant!
So a handwriting analysis would do no good to verify origin.
Gayle Bair
Bainbridge Island, WA
http://claybair.com
-----Original Message-----
From: Chris Rupp
My personal opinion, from a collecting standpoint, is that you SHOULD sign
your pots ALWAYS. Whether it be a stamp or an actual signature, I think it
is very important. If you don't like the piece that came out, then destroy
it before it goes to market.
Warren MacKenzine does not sign his pieces any longer. What good does that
do anyone including himself? Why not claim ownership for your work? For this
very reason I will no longer buy work from him. I would rather search out
older work with his stamp because in the long term, the signed piece will be
worth something if I ever decide to sell it.
Hamada had his own theory on the matter, but he was living in a different
time. His pots stood out as "Hamada" among the other work being produced at
the time. However, look at all the problems that have resulted now from a
collecting standpoint. In Japan you cannot sell a piece of Hamada if it does
not have the original box, or at least the lid, which is signed, as it is
the only means or proving that the work is Hamada's. I have come across many
pieces which have the name "Hamada" attached to them, yes they look like his
work, yes the glazes are correct and the style is appropriate, but there is
really no way of knowing for sure without the box. The biggest problem in
America is that so many Americans in the past did not realize how important
the box was and they threw it out. So there are lots of pieces floating
around America that lack their only means of provenance.
Chris
Sunny Santa Barbara
>From: don hunt
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Hamada
>Date: Thu, 10 Oct 2002 20:47:03 -0700
>
>Do you think it shows lack of ego to not sign your pots or is it a
>Japanese thing that has another meaning?
>
>Don Hunt
>
Sandi Taylor on sat 12 oct 02
Hi,
Personnally, I think that when someone knows anothers work, it can be
recognized without a mark of any kind. I think he knew that.
Sandi Taylor
don hunt on sat 12 oct 02
Gavin,
I mean his not doing something that in some way makes a statement that I
find personally unusual in my own context makes me ask what it says
about who he is as a person and how I can understand it given I don't
understand the context.
Understand?
Don Hunt
Hendrix, Taylor J. on sun 13 oct 02
Don,
I don't think Hamada was trying to make statements; he was making pots. =
And not just him. He has several people working with him at the pottery =
(including his children) throwing, trimming, hand forming, glazing, =
stoking the hill, doing the books. It would have been inappropriate for =
him to sign 'his' work. Leach wrote that Hamada was reluctant to sign =
his boxes, but that he did out of necessity. I can see why. It cost =
(now and then) a lot of money to keep that pottery going. It may please =
you to know, Don, that you are not alone in your puzzlement. Hamada =
himself was quite at a loss to understand Leache's dogged persistence in =
pot signing.
Taylor, in Waco where our recent rain has closed up those sad cracks in =
my recent tile job.
-----Original Message-----
From: don hunt [mailto:bhunt@CWNET.COM]
Sent: Saturday, October 12, 2002 6:38 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Hamada
Gavin,
I mean his not doing something that in some way makes a statement that I
find personally unusual in my own context makes me ask what it says
about who he is as a person and how I can understand it given I don't
understand the context.
Understand?
Don Hunt
_________________________________________________________________________=
_____
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at =
melpots@pclink.com.
Chris Rupp on mon 14 oct 02
I don't know how this subject came about, as I did not mention anything
about "handwriting analysis." But since you brought it up...Who cares if an
assistant does the signing, the important part is that it is signed and that
the signature is of the potter who made the piece. In the case of Warren
MacKenzie, he used to use a stamped mark, so who really cares if an
assistant stamped the piece or MacKenzie stamped the piece, the important
part remains, that the work is signed.
Chris
Sunny Santa Barbara
>
>Interesting Chris,
>I recently did a workshop with a very successful potter.
>He admitted that he no longer signs his work....
>that is relegated to an assistant!
>So a handwriting analysis would do no good to verify origin.
>
>Gayle Bair
>Bainbridge Island, WA
>http://claybair.com
>
>-----Original Message-----
>From: Chris Rupp
>
>My personal opinion, from a collecting standpoint, is that you SHOULD sign
>your pots ALWAYS. Whether it be a stamp or an actual signature, I think it
>is very important. If you don't like the piece that came out, then destroy
>it before it goes to market.
>
>Warren MacKenzine does not sign his pieces any longer. What good does that
>do anyone including himself? Why not claim ownership for your work? For
>this
>very reason I will no longer buy work from him. I would rather search out
>older work with his stamp because in the long term, the signed piece will
>be
>worth something if I ever decide to sell it.
>
>Hamada had his own theory on the matter, but he was living in a different
>time. His pots stood out as "Hamada" among the other work being produced at
>the time. However, look at all the problems that have resulted now from a
>collecting standpoint. In Japan you cannot sell a piece of Hamada if it
>does
>not have the original box, or at least the lid, which is signed, as it is
>the only means or proving that the work is Hamada's. I have come across
>many
>pieces which have the name "Hamada" attached to them, yes they look like
>his
>work, yes the glazes are correct and the style is appropriate, but there is
>really no way of knowing for sure without the box. The biggest problem in
>America is that so many Americans in the past did not realize how important
>the box was and they threw it out. So there are lots of pieces floating
>around America that lack their only means of provenance.
>
>Chris
>Sunny Santa Barbara
>
>
>
> >From: don hunt
> >Reply-To: Ceramic Arts Discussion List
> >To: CLAYART@LSV.CERAMICS.ORG
> >Subject: Hamada
> >Date: Thu, 10 Oct 2002 20:47:03 -0700
> >
> >Do you think it shows lack of ego to not sign your pots or is it a
> >Japanese thing that has another meaning?
> >
> >Don Hunt
> >
>
>______________________________________________________________________________
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
_________________________________________________________________
Join the world’s largest e-mail service with MSN Hotmail.
http://www.hotmail.com
skid@NEGENTROPIC.COM on tue 15 oct 02
Chris Rupp on fri 11 oct 02=20
"Warren MacKenzine does not sign his pieces any longer. What good does =
that do anyone including himself? Why not claim ownership for your work? =
For this very reason I will no longer buy work from him. I would rather =
search out older work with his stamp because in the long term, the =
signed piece will be worth something if I ever decide to sell it. "
______
I think Chris is misreading MacKenzie's intent. The good it does for his =
work to remain unsigned is to reset the focus on the pots themselves, =
and away from the artist, his persona, and the potential resale value. =
While this may not be "good" for the collector market (which at one =
level is primarily interested in monetary value, not aesthetic value) it =
is great for the people that really matter in that transaction: the =
potter and the owners of the pots. He gets to sidestep what must be a =
difficult situation: knowing that every pound of clay he touches will be =
highly valued because of his personal status, whether it's what he =
considers a good pot or not; watching people come to buy his pots for =
their market value instead of their intrinsic value; the knowledge that =
many or most of his utilitarian pots would, if signed, go unused for =
fear of losing their monetary value. The people that buy and use the =
pots, hopefully, get the message that they should choose pots they like, =
not the ones with the right stamp.=20
There's another positive outcome from MacKenzie's decision to stop =
stamping his pots, which is that it stirs these types of discussions. =
Because he is so well known, MacKenzie's decision reads as a stand of =
sorts, against the over-commercialization of art that so many people =
resent. It is very easy to slip into a frame of mind in which pots (and =
art in general) are primarily about economics, particularly for the =
artists trying to make a living and the collectors trying to capitalize =
on the market. What gets left behind are the actual qualities of the =
work, the intent behind its creation, and the context in which it was =
made. I am reassured at the idea that someone who could so easily =
choose to cash in on name recognition instead focuses on making a lot of =
good pots, at reasonable prices, in a local context. To me, that is a =
definition of integrity.=20
While many potters would salivate to attain MacKenzie's status, I think =
it's a bit like winning the lottery -- you'd only see the downside after =
the fact (I'm thinking here of the highly-publicized bankruptcy rates of =
lottery winners...). I think his fame and success - both attained =
through decades of hard, good work - would be a great, unweildy =
double-edged sword. With that in mind, his decision to leave his pots =
unsigned makes perfect sense.
scott cooper
st. earth pottery
www.negentropic.com/clay
hmurrow@EFN.ORG on tue 15 oct 02
Quoting Chris Rupp :
> I don't know how this subject came about, as I did not mention anything
> about "handwriting analysis." But since you brought it up...Who cares if an
> assistant does the signing, the important part is that it is signed and
> that
> the signature is of the potter who made the piece. In the case of Warren
> MacKenzie, he used to use a stamped mark, so who really cares if an
> assistant stamped the piece or MacKenzie stamped the piece, the important
> part remains, that the work is signed.
Dear Chris and Others;
I think we could close this discussion with the observation that, "The
Important Thing is that the work was done." Anything else is trivial, except
to collectors and museums. I wonder how many of these august ones would stand
behind their assessments of unsigned pots?
Cheers to All, Hank (still in LA)
------------------------------------------------------------
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Bill Merrill on fri 20 aug 10
Pots are born, not made. Hamada
=3D20
The Susan Peterson book is a good book. "Hamada"=3D20
=3D20
=3D20
Randall Moody on fri 20 aug 10
-----Original Message-----
From: Clayart [mailto:Clayart@LSV.CERAMICS.ORG] On Behalf Of Bill Merrill
Sent: Friday, August 20, 2010 4:01 PM
To: Clayart@LSV.CERAMICS.ORG
Subject: Hamada
Pots are born, not made. Hamada
The Susan Peterson book is a good book. "Hamada"
Pots are made. Hamada made pots. -- Me
Jeff Jeff on fri 20 aug 10
Due to financial circumstances I recently sold my copy of Ms.Peterson's
book. (It is a great book.)
In honor of her recent passing I would have preferred to keep it...but due
to of my poverty I had to sell it.
I thought Mr Hamada would forgive me. That the sale of his book would
enable me to continue to make pots...I thought he would be happy.
Life is short.
Jeff Longtin
Minneapolis
In a message dated 8/20/2010 4:30:13 P.M. Central Daylight Time,
BMerrill@PENCOL.EDU writes:
Pots are born, not made. Hamada
The Susan Peterson book is a good book. "Hamada"
Lee Love on fri 20 aug 10
On Fri, Aug 20, 2010 at 7:33 PM, Jeff Jeff wrote:
> Due to financial circumstances I recently sold my copy of Ms.Peterson's
> book. (It is a great book.)
The Leach book on Hamada is much better. It is available through the
Hennepin library system:
https://catalog.hclib.org/ipac20/ipac.jsp?session=3D3D128KL5661T916.42949&p=
ro=3D
file=3D3Delibrary&source=3D3D~!horizon&view=3D3Ditems&uri=3D3Dfull=3D3D3100=
026~!38510=3D
78~!1&ri=3D3D2&aspect=3D3Dbasic_search&menu=3D3Dsearch&ipp=3D3D20&spp=3D3D2=
0&staffonl=3D
y=3D3D&term=3D3DLeach,+Bernard,+1887-1979.&index=3D3DAL&uindex=3D3D&aspect=
=3D3Dbasic_=3D
search&menu=3D3Dsearch&ri=3D3D2
--
=3DA0Lee, a Mashiko potter in Minneapolis
http://mingeisota.blogspot.com/
=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi
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