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galleries in la jolla

updated fri 21 jan 00


Andi Cody on wed 19 jan 00

Ilene, Several to check out: Most especially Sunstone Potters on La Jolla
Blvd (Eleanor Murphey is very talented and also interesting to talk with),
Gallery 8 on Girard Ave, Gallery of Contemporary Fine Arts on Prospect, and
others in the neighborhood within walking distance (and it's a beautiful
place to walk; La Jolla is a neat little village, very pricey, within San
Diego-- gorgeous ocean views). The Nottingham Center is in San Marcos,
about30 miles northeast of LJ; not sure if anything is going on there
during the time you'll be here.

>Subject: La Jolla
>----------------------------Original message----------------------------
>Due to the incredibly low fares (aireplane) on the net I am going to
>visit with my youngest son for his birthday JAN 27-31. aRE THERE ANY
>GALLRIES IN THE lA Jolla area? ..Is the nottingham Center far? Are they
>open all the time? Can you Just visit? Bye the Bye faire $71 each
>way..Ilene in Conn...Thanks in advance
>Date: Sun, 16 Jan 2000 21:29:40 EST
>From: Christopher Greenman
>Subject: Re: Men don't make passes...
>----------------------------Original message----------------------------
>I too wear glasses in the studio and have experienced the same problem. I
>have successful with this latest pair of plastic lenses as I really try and
>wash my glasses off with water before I use a towel. This has helped a lot.
>Good luck,
>I do like the way light refracts colors in scratched lenses though. I just
>don't like the horrible reflections I get with scratched or dirty lenses-very
>Date: Sun, 16 Jan 2000 21:29:53 EST
>From: "C. A. Sanger"
>Subject: "Men Don't Make Passes..."
>----------------------------Original message----------------------------
> For glasses not yet ruined in the studio, wrap the lenses with
>plastic wrap prior to entering. Make sure they are clean before you
>wrap so you don't grind particles in. If you need to, change the wrap
>once it get dusty.
> There's a couple things to try with already scratched lenses. Some
>optical places and stores still carry scratch-filling cleaners. These
>were originally designed for astronaut's face plates. They work farily
>well for shallow scratches. Another trick to try is wiping light oil
>onto a clean, scratched lens. The oil may fill the scratches enough to
>allow for clearer vision. This tip was given to my spouse by the
>C. A. Sanger
>ShardRock Clay Studio
>Kansas, USA
>Date: Sun, 16 Jan 2000 21:30:31 EST
>From: Reg Wearley
>Subject: Re: Please make me understand this very easy !
>----------------------------Original message----------------------------
>Hi from a red-faced chemistry teacher!!!
>Just how I could get two atoms of oxygen to
>combine with one atom of hydrogen I don't
>know!! S0, Anntonette, I must correct myself,
>(others will to I'm sure), and tell you that,
>while water is in fact on oxide of hydrogen
>with a formula of H2O, its chemical name is
>DIhydrogen oxide, and NOT hydrogen dioxide!!
>Sorry. -Reg
>--- Reg Wearley wrote:
>> ----------------------------Original
>> message----------------------------
>> Hi Antoinette-
>> You will probably get many replies to your
>> question. As a former chemistry teacher I
>> cannot resist trying to answer and will try
>> to do so in a form you can follow.
>> First of all an 'oxide' indicates that some-
>> thing has combined with oxygen, and many
>> 'things' can do that-carbon to form carbon
>> dioxide; iron to form iron oxide; hydrogen
>> to form hydrogen dioxide (water), etc,etc.
>> As potters we are usually interested in some
>> of the oxides that come from the combination
>> of certain metals and oxygen. For instance,
>> iron oxide, chromium oxide, cobalt oxide,
>> manganese dioxide, and so forth. The prefex
>> 'di', 'tri', 'pent', etc refer to the number
>> of oxygen atoms that combine with one to the
>> metal atoms. Two oxygen atoms combine with one
>> manganese atom-thus, manganese DIoxide. A 'pent-
>> oxide' involves 5 oxygen atoms-OK?
>> Regarding the Carbonates, Nitrates, Sulphates,
>> etc., it is a little more involved, but put simply
>> these are groups of atoms that act as a single
>> unit in simple chemical applications. A carbonate
>> 'particle' (made up of one carbon atom and three
>> oxygen atoms) will combine with one cobalt atom to
>> form a molecule of cobalt carbonate in approximatly
>> the same way that one oxygen atom will combine with
>> one cobalt atom to form one molecule of cobalt
>> oxide.
>> But, realize that the action of the two diffrent
>> molecules will be somewhat different too.
>> Think of the Nitrate 'particles' in the same way.
>> They consist of one nitrogen atom and three oxygen
>> atoms, however. The sulphates have one atom of
>> sulphur and 4 atoms of oxygen!
>> Please realize that this is an attempt to explain a
>> lot of chemistry in a very, very simplified manner.
>> I just did't want to make it too long. If I can
>> be more specific for you in a certain area let me
>> know. Good luck. -Reg
>> --- Antoinette Badenhorst wrote:
>> > ----------------------------Original
>> > message----------------------------
>> > Is this not a nice forum to get answers from
>> > questions
>> > that you forgot you had years ago and never got
>> the
>> > answers then?
>> > My question today might be frustrating to some but
>> > please answer it in a very basic way.
>> > My understanding of an oxide is that it is a metal
>> > in
>> > combination with water and oxygen, for instance
>> > iron+
>> > water+oxygen(which I believe is in the water )
>> will
>> > give rust and that is basically iron oxide. True
>> or
>> > not?
>> > If that is true,please describe to me what is a
>> > carbonate,nitrate, sulphate and pentoxide. Are
>> there
>> > any more of importance to potters?
>> > Antoinette.
>> >
>> >
>> > =====
>> > Antoinette Badenhorst
>> > PO Box 552
>> > Saltillo,Mississippi
>> > 38866
>> > Telephone (601) 869-1651
>> >
>> > __________________________________________________
>> > Do You Yahoo!?
>> > Talk to your friends online with Yahoo! Messenger.
>> >
>> >
>> __________________________________________________
>> Do You Yahoo!?
>> Talk to your friends online with Yahoo! Messenger.
>Do You Yahoo!?
>Talk to your friends online with Yahoo! Messenger.
>Date: Sun, 16 Jan 2000 21:30:45 EST
>From: Forrest Snyder
>Subject: ***Critical Ceramics: "seen" updated***
>----------------------------Original message----------------------------
>I've added the latest updates to the opportunities section of "seen" on
>Critical Ceramics.
>Included in the latest round of opportunities are multiple show competitions,
>A six-month minimum residency in Roswell, New Mexico, a new craft marketing
>competition (iTheo), and a great program for art teachers at The National
>Gallery of Art called "The Beat Generation And Beyond: American Art Of The
>As always, if you have comments, corrections, or events to list, please
>contact me at the email address below.
>Forrest Snyder, Editor
>Critical Ceramics
>Date: Sun, 16 Jan 2000 21:30:59 EST
>From: Anita Rickenberg
>Subject: Re: any opinions on doing the Lincoln Center craft shows in
> NYCshows in NYC?
>----------------------------Original message----------------------------
>The Lincoln Center show is a good show. It's rather difficult to get in--I
>believe they accept only about 1 in 10 applications. Very high volume
>traffic and good sales. It is expensive, both the booth fee and daily
>costs. It's NYC with the relatively high parking, food, lodging, etc.
>Depending on booth location, it can be a a bit of a haul to dolly in your
>work (especially if it's heavy). Two people need to man the booth at all
>times, both because of the volume of customers and the problem of things
>"walking off." Although they have overnight security, there have been
>incidents in the past with things being taken, so I would recommend loading
>and unloading daily.
>----- Original Message -----
>From: Bonita Cohn
>Sent: Friday, January 14, 2000 4:50 PM
>Subject: any opinions on doing the Lincoln Center craft shows in NYCshows in
>> ----------------------------Original message----------------------------
>> Hi. A friend, returning from Grad School on London wants to know about the
>> crafts shows at Lincoln Center in NYC. Any one have experience doing them?
>> Price? Sales? Advice? Just say NO? Thanks in advance. Bonita in San
>Date: Sun, 16 Jan 2000 21:31:11 EST
>From: "C. A. Sanger"
>Subject: Re: Teaching and Critiquing
>----------------------------Original message----------------------------
> I urge instructors not to give up on beginners who struggle. Keep
>trying as long as they are willing to. I was one of those ham-handed
>dullards! I am not exaggerating when I say it took me 6 weeks to pull a
>lousy 3 inch cylinder. Another 2 weeks to get to 6 inches. Some days I
>actually had as many as 6 people huddled around me at the wheel trying
>to help me "get it up." Gives a new meaning to the term "mud
>wrestling!" My teacher admits now he really thought I was a lost cause,
>but figured a student who came in and tried for 5 hours a day 5 days a
>week, driving 3 hours round trip, was worth teaching. I wasn't any
>better at hand-building at first, either.
> I think working clay is unique to most people. Few of our previous
>life experiences provide us with the body skills needed. Learning to
>throw is like a baby learning to walk. Watching someone else throw is
>unintelligible till you know the "language."
> In my case, it turned out I wasn't getting my fingers placed
>correctly, mainly because I couldn't see the teacher's fingers inside
>the pot. I was throwing with my fingers exactly opposite each other,
>pinching the wall. Now I know you need to stagger them to move that
>little bulge of clay up. I also had trouble pulling straight up,
>instead pulling outward and enlarging instead of raising.
> I devised my own patterning exercise to teach my brain the moves I
>needed. I took an old mix master from the kitchen, the kind with a
>rotating bowl. The bowl was clear glass. I coated it inside and out
>with cooking oil, then turned it on. I pretended to pull a cylinder
>over and over. I did this constantly for a weekend. On the following
>Monday in class, I successfully pulled a short cylinder. The entire
>class applauded and cheered! I will never be capable of production
>potting, but I throw well enough to do the things I want. And my
>teacher considers me one of his success stories.
> Adapting previous body knowledge is the crux. For example, some
>types of slab work resembles working with fabric. Beginners who sew
>find electric wheels easier to use than kickwheels cause their brain
>already knows that motion. Cutting clay slabs into specific shapes is
>like laying out patterns on fabric.
> So keep trying to teach the difficult learners as long as they keep
>trying. Look for real-life examples of the body skills you need them to
>use, and design some patterning exercises for those they lack.
>Remember, it's easier to teach the quick, but you'll feel more sense of
>accomplishment with the challenging students!
>C. A. Sanger
>ShardRock Clay Studio
>Kansas, USA
>Date: Sun, 16 Jan 2000 21:31:24 EST
>From: GSM_ENT
>Subject: Re: Pyrometer Installation (analog)
>----------------------------Original message----------------------------
>Hi Feri:
>Happy New Year!!!!
>When an answer is posted it most be taken as a grain of salt. There should
>be additional in depth research on the subject at hand. I have always
>thought that the board was intended to provide guidelines and not a quick
>fix answer.
>Firing, as stated previously, is just a repeated simple physics experiment
>were we "attempt" to control all variables. If we were at the laboratory we
>would be much more careful and specific. this would include taking the
>weigth of the ware and kiln furniture (mass) to be fired to make use of
>mathematical computations to find out the amount of time and the
>temperature needed in order to mature the ware.
>Warm Regards,
>MAJ., US Army (Ret)
>Master Kiln Repair Technician
>----- Original Message -----
>From: ferenc jakab
>Sent: Friday, January 14, 2000 1:39 PM
>Subject: Re: Pyrometer Installation (analog)
>> ----------------------------Original message----------------------------
>> Manuel, what you say has a certain logic for electric kilns but any kiln
>> fired by some sort of flame is also affected by things such as wind
>> causing increased draw in the flue and humidity, especially for gas kilns
>> where the combustion of gas gives off water.
>> Feri.
>Date: Sun, 16 Jan 2000 21:31:42 EST
>From: Vicki Katz
>Subject: TCAA - Houston
>----------------------------Original message----------------------------
>Hello again Houston area MUD LOVERS !
>A quick note reminding you that we will have a meeting on Tuesday evening,
>7pm - JANUARY 18, 2000 at North Harris College. The school is located at
>2700 W.W. Thorne Drive, Houston, 77073 & the phone number in the ceramics lab
>is 281-618-5609.
>We will discuss plans for 2000, NCECA, unload the kiln from the Steven Hill
>workshop AND Roy Hanscom has FINALLY agreed to show a few slides of his work.
> It should get the new year off to a good start.
>Please bring a friend. Also, feel free to bring something to eat or drink.
>The next meeting planned for the Houston area this year has been scheduled
>for March 28th ( another Tuesday evening ) at GOLDSBERRY GALLERY, 2625
>Colquitt, Houston, TX 77098 - the phone there is 713-528-0405. This should
>work well for people as it is central Houston, known as the Upper Kirby
>district. If you remember, Oliver & Nancy were kind enough to host our
>first local TCAA meeting. They have yummy clay art there all the time.
>If you need more information, please feel free to call Vicki at 713-880-8157.
> See you at the meeting!
>Date: Sun, 16 Jan 2000 21:32:03 EST
>From: Alisa and Claus Clausen
>Subject: Sv: Re: Raku: Simple Glazes
>----------------------------Original message----------------------------
>Hi Dannon,
>I also have used the 20/80 GB and Neph. Sy. recipe when I was in school.
>Do you have a certain precent for Silver Nitrite that you add?
>Thanks and regards,
>Alisa in Denmark
>-----Oprindelig meddelelse-----
>Fra: Dannon Rhudy
>Dato: 14. januar 2000 22:51
>Emne: Re: Raku: Simple Glazes
>----------------------------Original message----------------------------
>The two simplest I know are these:
>Gerstley Borate 80=25
>Nehpeline Syanite 20=25
>and (Piepenburg):
>Cornwall Stone 80=25
>Nepheline Syanite 20=25
>You can add colorants in the form of oxides or stains to
>either of these. They both crackle well. In my experience,
>Piepenburg's has a more interesting crackle pattern
>Cornwall stone will be more expensive than Gerstley Borate.
>The materials are available, no doubt, from Mile Hi Ceramics in
>Dannon Rhudy
>At 03:11 PM 01/14/2000 EST, you wrote:
>=3E----------------------------Original message----------------------------
>=3EHello potters,
>=3EI'm a high schooler in Colorado experimenting with raku. I've been =
>=3Ewith raku for about two years now, but I've never actually made my own
>=3Eglazes before. I would like information on simple glazes and places to =
>=3Ethe ingredients. Any ideas?
>=3EGet Your Private, Free Email at
>Date: Sun, 16 Jan 2000 21:32:27 EST
>From: Richard Selfridge
>Subject: Re: Porcelain
>----------------------------Original message----------------------------
> It seems to me that maybe you just don't get the concept of
>Things don't take on their name until fully realized. We don't call cookie
>dough cookies nor a small bright child with an interest in medicine a
>doctor. Porcelain is one of those things that is teleological in the way
>Aristotle saw the world as "becoming".
> The clay body you speak of can, (if free from opacifiers such as
>or talc or colorants such as iron), sometimes "become" porcelain. This is
>only after it is fired to vitrification. One does not demand transclucency
>that you can read a newspaper through but at least the transmission of
>light, or the kind of refraction or reflection we call luminosity. Often
>quite thick pots can have this quality.
> Once you have tried to make transclucent porcelain you realize how
>inadequate opaque "whitewares" are at imitating this demanding standard.
>People can call things what they wish; that is the nature of language, but
>when someone says "pit fired porcelain" it makes me wince. Like the
>cookies, they are not realized until they are properly baked.
> For a great discussion of what porcelain really is, see John
Reeve, "More
>Notes on Porcelain" in Studio Potter. Vol. 6 No. 2. This whole issue is
>like a bible for those who seek the special quality called porcelain.
> Hope this helps to clear things up, a very ungod like Richard
>At 01:06 PM 1/14/00 -0700, you wrote:
>>----------------------------Original message----------------------------
>> What a load of pedantic crap.Porcelain is a clay body and people can
>>do whatever the hell they like with it and it remains porcelain.Who promoted
>>you to God.
>> Bob Hollis trying very hard to be non agressive.
>> is
>>----- Original Message -----
>>From: "I.Lewis"
>>Sent: 13 January 2000 21:58
>>Subject: Porcelain
>>----------------------------Original message----------------------------
>>I understand Porcelain to be a ceramic which has the following qualities;
>>1 It is Translucent, meaning that light which enters the substance from one
>>passes through and out of the other. Any sense of a clear image is diffused
>>obscured but an object held between the light and the porcelain will be seen
>>a shadow.
>>2 It is white, or nearly so unless deliberately coloured.
>>These qualities can be achieved using a variety of compositions and firing
>>Of these properties, Translucency is the most important. If not present the
>>should be denied. I would call a ceramic which is not translucent white
>>Provided people can accept this as a definition I will continue forwarding
>>information to the group which may assist many people to understand some of
>>Best regard to all,
>>Ivor Lewis. Who recorded a temperature of 45 Celsius in the studio. Are we
>>talking serious air conditioning!!! And Olive is preparing a Ripe Damson Ice
>>Cream Base
>Date: Sun, 16 Jan 2000 21:32:46 EST
>From: Kent / Pat
>Subject: Re: NECEA
>----------------------------Original message----------------------------
>Hi all
>I have started to receive requests for info. I thought I'd copy my response
>to Vicki for starts then compile a list of general and specific questions
>and put them on the list in a little while. Maybe 2-3 weeks. I'll try to
>answer personal specific questions as they appear.
>The Adams-Mark Hotel is downtown and close to where all the "other " action
>is. You'll have LOTS of places to go, but I reccommend takeing a couple of
>the tours.
>Weather is kind of flakey here because of whatever reason you might want to
>give it. I think jeans and t=shirts or turtlenecks are great. A light
>weight polar fleece jacket would be a good choice. Temps could be from
>highs in the 30's to the mid 70's. We're pretty casual here.
>Rodisio's is a good and fun place to eat. A little upscale price wise but
>you will not go hungry. For mexican I'd tink the Bluebird Cafe on south
>Broadway is great. The Buckhorn Cafe is true frontier fare and so is The
>Fort in Morrison. We're talking elk, rattlesnake, buffalo,pheasant stuff.
>Denver is a veritable dining mecca so you won't have much of a problem
>finding almost any kind of food.
>As for transportation to and from the airport, There's the bus which goes to
>within a block form the hotel, Airport shuttles run about $25-$35. The
>hotel should also have shuttles available, but reserve it early! Taxis will
>run $40 - $50.
>Hope this helps you somewhat. E-mail as you need to. Have lots of fun.
>Maybe we will meet 8-).
>Pat Porter
>End of CLAYART Digest - 15 Jan 2000 to 16 Jan 2000 (#2000-17)