Lee Love on mon 6 oct 08
I think his lead glazed slipware is beautiful.
--
Lee Love in Minneapolis
http://heartclay.blogspot.com/
http://mashikopots.blogspot.com/
http://claycraft.blogspot.com/
"Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground." --Rumi
DRB Seattle on mon 6 oct 08
Ron
You=A0say=A0=A0"I am re reading his (Michael Cardews) biography" Ok ya got =
me- give the details please- author pub ISBN
Thanks
DRB
Seattle
--- On Sat, 10/4/08, Ron Roy wrote:
From: Ron Roy
Subject: Michael Cardew
To: CLAYART@LSV.CERAMICS.ORG
Date: Saturday, October 4, 2008, 9:27 PM
I am re reading his (Michael Cardews) biography - a truely remarkable man.
It is such a pleasure to hear a potter talk in such an open and honest way.
If you are somewhat fed up with all the posturing going on in our world of
clay you owe it to yourself to read this man.
RR
>When this kind of conversation comes up i like to turn to Page 236 of
>my very old Pioneer Pottery by Michael Cardew. Don't let the title
>fool you. This guy was a very forward thinker on the arts.
>I wrote a passage from it for y'all. More good stuff on the page but i
>encourage you to read the whole chapter. .
Ron Roy
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
=0A=0A=0A
Ron Roy on mon 6 oct 08
Hi DBR,
I should have said auto biography - any way - A Pioneer Potter - Oxford
University Press 1989.
ISBN 0-19-282641-7
>Ron
>You say "I am re reading his (Michael Cardews) biography" Ok ya got me-
>give the details please- author pub ISBN
>Thanks
>DRB
>Seattle
Ron Roy
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Ron Roy on fri 10 oct 08
His auto biography is about his work in Africa - he seems to have changed
his attitude about low fire and was insistant about going to high fire.
I got the impression he thought quality was the important reason because
they were making functional ware.
RR
>I think his lead glazed slipware is beautiful.
>--
> Lee Love in Minneapolis
>http://heartclay.blogspot.com/
>http://mashikopots.blogspot.com/
>http://claycraft.blogspot.com/
>
>"Let the beauty we love be what we do.
>There are hundreds of ways to kneel and kiss the ground." --Rumi
Ron Roy
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Hank Murrow on fri 10 oct 08
On Oct 9, 2008, at 10:55 PM, Ron Roy wrote:
> Michael Cardew's auto biography is about his work in Africa - he
> seems to have changed
> his attitude about low fire and was insistant about going to high
> fire.
>
> I got the impression he thought quality was the important reason
> because
> they were making functional ware.
Dear Ron;
Cardew laid his insistence on high fire at Abuja to the fact that all
pottery making before his experiment there was made by women at low
temperatures. To engage the men in that Muslim society, he decided to
work at high temperatures. also, all pottery had been made off the
wheel by the women........ the men were drawn to the wheel as a
'special' tool, and the stoneware kilns as a 'special' tool, so they
found it much easier to engage in what had been seen as 'women's
work' before. His good friend Ladi Kwali told us stories of how silly
the men were about this, and she went right on making her gorgeous
coil-built jars until she died. But Michael was correct..... the men
only came around when the wheel and high temperatures were
introduced. I wonder how many of today's male potters subscribe, at
least unconsciously, to this view.
Cheers, Hank in Eugene
www.murrow.biz/hank
Lee Love on fri 10 oct 08
On Fri, Oct 10, 2008 at 8:31 AM, Hank Murrow wrote:
> I wonder how many of today's male potters subscribe, at
> least unconsciously, to this view.
Didn't you know Hank, your testicles drop off if you do earthenware.
*Hahahah!*
Actually, Fiance and lusters might have been the thing to promote
in the Islamic world. Some of their greatest cultural heritage the
West has been copying for hundreds of years.
In Japan, they loved Leach's slipware the best. When he
switched to stoneware, he occasionally made lowfired slipware, at
Yanagi's insistence, to ship to Japan. I have a catalog from a show
after his death, that was held in Japan. A memorial retrospective.
His best slipware chargers were send to Japan.
--
Lee Love in Minneapolis
http://heartclay.blogspot.com/
http://mashikopots.blogspot.com/
http://claycraft.blogspot.com/
"Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground." --Rumi
Ron Roy on sun 19 oct 08
Hi Hank,
Thats not the way it reads to me - they were trying to make dinnerware for
the army - and he wanted the glazes fired high to get some reaction with
the clay - as opposed to china firings - which he thought inferior.
In the end it undid him - they could not find clay that did not produce a
lot of cristobalite at the high temperatures.
Was it not Harry Davis who started there?
The workers were hired by the way and seemed to take part in all aspects of
pottery making. The trained apprentices were very jealous of their status
and were trouble in the end.
I know you are not mixing the male ego with making functional ware - I
wonder if others will?
RR
>Dear Ron;
>
>Cardew laid his insistence on high fire at Abuja to the fact that all
>pottery making before his experiment there was made by women at low
>temperatures. To engage the men in that Muslim society, he decided to
>work at high temperatures. also, all pottery had been made off the
>wheel by the women........ the men were drawn to the wheel as a
>'special' tool, and the stoneware kilns as a 'special' tool, so they
>found it much easier to engage in what had been seen as 'women's
>work' before. His good friend Ladi Kwali told us stories of how silly
>the men were about this, and she went right on making her gorgeous
>coil-built jars until she died. But Michael was correct..... the men
>only came around when the wheel and high temperatures were
>introduced. I wonder how many of today's male potters subscribe, at
>least unconsciously, to this view.
>
>Cheers, Hank in Eugene
>
>www.murrow.biz/hank
Ron Roy
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Hank Murrow on sun 19 oct 08
On Oct 19, 2008, at 12:20 PM, Ron Roy wrote:
> Hi Hank,
>
> Thats not the way it reads to me - they were trying to make
> dinnerware for
> the army - and he wanted the glazes fired high to get some reaction
> with
> the clay - as opposed to china firings - which he thought inferior.
Dear Ron;
I have not read Michaels autobiography. My remarks were what I
remembered from his three-month sojourn here in Eugene while he was
writing his "Pioneer Potter" book. He was very clear in conversation
on this point. He felt the wheel and the kiln attracted the men.
>
> In the end it undid him - they could not find clay that did not
> produce a
> lot of cristobalite at the high temperatures.
>
> Was it not Harry Davis who started there?
Yes, Harry was the first to try in Nigeria.
>
> The workers were hired by the way and seemed to take part in all
> aspects of
> pottery making. The trained apprentices were very jealous of their
> status
> and were trouble in the end.
>
> I know you are not mixing the male ego with making functional ware - I
> wonder if others will?
>
Gee, I hope not. Room for everybody at my table, I hope. However, I
do think that high temps have the same attractions for we grown-up
boys that hot rods did when we were younger, though it seems a
stretch to hope some sweet thing will hop in your anagama with you!
Cheers, Hank in Eugene
DRB Seattle on tue 21 oct 08
Ron
OK this is trusting my memory from visiting cardew in the 60's but the "pots for the army" story was about a project Harry Davis started and was before he set up his pottery at Vume. The story about Ladi Kwali, men and machines was from Abuja. A detail of this was that Abuja was a government center and many of the early students were wives of government workers.
DRB
--- On Sun, 10/19/08, Ron Roy wrote:
From: Ron Roy
Subject: Re: Michael Cardew Bio
To: CLAYART@LSV.CERAMICS.ORG
Date: Sunday, October 19, 2008, 12:20 PM
Hi Hank,
Thats not the way it reads to me - they were trying to make dinnerware for
the army - and he wanted the glazes fired high to get some reaction with
the clay - as opposed to china firings - which he thought inferior.
In the end it undid him - they could not find clay that did not produce a
lot of cristobalite at the high temperatures.
Was it not Harry Davis who started there?
The workers were hired by the way and seemed to take part in all aspects of
pottery making. The trained apprentices were very jealous of their status
and were trouble in the end.
I know you are not mixing the male ego with making functional ware - I
wonder if others will?
RR
>Dear Ron;
>
>Cardew laid his insistence on high fire at Abuja to the fact that all
>pottery making before his experiment there was made by women at low
>temperatures. To engage the men in that Muslim society, he decided to
>work at high temperatures. also, all pottery had been made off the
>wheel by the women........ the men were drawn to the wheel as a
>'special' tool, and the stoneware kilns as a 'special'
tool, so they
>found it much easier to engage in what had been seen as 'women's
>work' before. His good friend Ladi Kwali told us stories of how silly
>the men were about this, and she went right on making her gorgeous
>coil-built jars until she died. But Michael was correct..... the men
>only came around when the wheel and high temperatures were
>introduced. I wonder how many of today's male potters subscribe, at
>least unconsciously, to this view.
>
>Cheers, Hank in Eugene
>
>www.murrow.biz/hank
Ron Roy
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
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