Linda Blossom on thu 25 dec 97
A while back - maybe over a year or more, there was a thread about using
thick slip. Really thick. Using it sculpturally. I had tried it and found
that it cracked. Some of the suggestions were to add grog - use the same
claybody....Nothing really allowed me to apply really thick slip so I could
relive those old mud pie days. However, in my fun pushing paper clay to its
plastic limits I revisited this topic. I used a tile that was barely
leatherhard and scored it (didn't have to though) and really laid that slip
on. Had it over a quarter inch thick and then dried it over the woodstove.
Then I added some engobes, glazes and fired it. No cracking whatever. I
don't know if it would do the same over a different clay body. I did use
the slip though on a highly grogged body and on a paper clay body and it
worked on both.
2366 Slaterville Rd.
Ithaca, NY 14850
From: Joseph Bennion
To: Multiple recipients of list CLAYART
Date: Wednesday, December 10, 1997 9:39 AM
Subject: AmericanStyle/ Mel's cider-sales
Since reading Mel's post about his cider-sales I have been thinking a
lot about the direction of pottery and crafts in America. I dropped
out of the fair/gallery mill a few years in an attempt to bring my
work to a market closer to home. I have five open house sales per
year. I only send work to galleries ( one or two) willing to buy the
work at the same price that I sell to people coming to my shop. I
don't consign. I don't look down my nose at potters/artists who use
those venues for sales. I don't find them a comfortable place for the
work I do. They feel out of place. If someone is willing to buy the
work whether for their home or for their gallery it is OK with me. I
prefer selling my work to people who I get to meet when they come to
my shop. I also leave the shop open when I'm out so people can make
their selections and leave me a check or cash. It works well for me
and I am able to sell as many pots as I care to make.
Wendy Rosen's post on slide submissions got me motivated to write
this one. I've known for a long time that good color transparencies
are necessary for publication. That was taught in grad school. Other
things were taught there, not by precept but by example. I noticed at
some point after that schooling that, though I was talking about
domesticity, I was throwing and firing pots specifically for the
photographer/publisher. When I looked at a fresh batch of pots I
looked for the ones that had the potential of making a great
image...maybe a cover image or a foldout. I was imagining those juicy
images in print while I was selling the not-ready-for-print pots out
the door. The realization of where my priorities had drifted shocked
me and motivated me to pull my work from faraway shops and galleries.
I began concentrating on making pots that would not command a lot of
attention in print as much as they would bring pleasure in use; long
use it is hoped. I looked for ways to sell those pots to people who
live near enough to come here to get them. Eleven years after my MFA I
am happy to be rid of many of the notions I picked up in school and to
be selling 90% of my pottery at the point of origin. Please don't read
here a slam of academic training. I value my school experience. I just
picked up some bad habits.
Now, Wendy, for you as a publisher a picture is worth a thousand
dollars. For me a thousand published images won't ever equal the
satisfaction I find in knowing my pottery is woven into the fabric of
a thousand family's meal time. I enjoyed very much the free issue of
AmericanStyle that came to my mailbox this week. It was an education
since I don't get out much. The fairs and galleries who advertise with
you and who market the work you publish have different objectives than
I do. I respect what you do as I do the work of all honest artists and
wish you the best.
Joe the Potter
Joseph Bennion "stay together
PO Box 186 learn the flowers
Spring City, Utah 84662 go light"
firstname.lastname@example.org Gary Snyder
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