20 Most Influential Potters

The list Vince provided is a definitive one. Adelaide Alsop Robineau, Charles Fergus Binns, George Ohr, F. Carlton Ball,
Bernard Leach, Michael Cardew, Val Cushing, Warren McKenzie, Toshiko
Takaezu, Ken Ferguson, David Shaner, Lucie Rie, Shoji Hamada, Robin Hopper,
Tom Coleman, Ellen Shankin, Jeff Oestreich, Linda Christianson, Randy
Johnston, Josh DeWeese.

Who have I left out?
- Vince
To this I would add Maria Martinez, Peter Voulkos and Paul Soldner

Craig

On Fri, Jan 28, 2022 at 4:54 PM <clayart-request@lists.clayartworld.com> wrote:
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Today's Topics:

   1. Mel?s Magic List (David Lyons)
   2. STACKING WET POTS (Mike Gordon)
   3. great Pottery Throw Down? mending lamp base w/ glaze
      (Carolyn Curran)
   4. Re: top 20 list (David Woof)
   5. Re: great Pottery Throw Down? mending lamp base w/ glaze
      (Terry Lazaroff)
   6. Some Important Mentors..... (Hank Murrow)


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Message: 1
Date: Fri, 28 Jan 2022 14:06:59 -0600
From: David Lyons <lyonsd@plbb.us>
To: clayart@lists.clayartworld.com
Subject: [Clayart] Mel?s Magic List
Message-ID: <C39F40DE-7789-4BA4-BEDC-FF5676E4456F@plbb.us>
Content-Type: text/plain; charset=us-ascii


Spot on, Mel. 
Dave Lyons
Sent from my iPhone


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Message: 2
Date: Fri, 28 Jan 2022 12:26:23 -0800
From: Mike Gordon <clayart@earthlink.net>
To: Clayart international pottery discussion forum
        <clayart@lists.clayartworld.com>
Subject: [Clayart] STACKING WET POTS
Message-ID: <16CA8F78-420D-48DD-9BC1-9282EA0883E5@earthlink.net>
Content-Type: text/plain; charset=us-ascii

When I was teaching ceramics in high school I would sometimes stack wet pots  into a bisque kiln, put it on pilot over night & fire the next morning. Nothing ever blew up sometimes they had cracks in the bottom.Mike Gordon

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Message: 3
Date: Fri, 28 Jan 2022 15:30:30 -0500
From: Carolyn Curran <cncpots2@gmail.com>
To: clayart@lists.clayartworld.com
Subject: [Clayart] great Pottery Throw Down? mending lamp base w/
        glaze
Message-ID:
        <CA+u4nii=9UbUk804aNGns_apEq2d9muhaZx3wh5z6E=3gLC6cA@mail.gmail.com>
Content-Type: text/plain; charset="utf-8"

It just dawned on me that the Pottery Throw Down Show may be a weekly show
-which might explain the rushed schedule.  When you. binge  watch on a
streaming channel, you forget the time constraints.    But still, they use
a big deal expert kiln man to fire the pieces and you would think he  could
candle for longer period of time...   If I were a contestant, I would be
ticked off if my pieces were not dry. and exploded....especially when the
host potters always go on. and on  about drying the ware completely before
putting in the kiln.   Maybe they  have to sign a release  of some sort
before they get on the show.

And I still think  potters can't really use glaze as a mender in most
cases...

I think I am most of all fascinated by the toilet projects or other water
challenges  they show  on show.   And   of course  I am hyper critical when
they have  a  segment  throwing  pots in miniature scale,  since that's
been my thing for many decades.  Cheerio!
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Message: 4
Date: Fri, 28 Jan 2022 20:38:12 +0000
From: David Woof <woofpots@hotmail.com>
To: Clayart international pottery discussion forum
        <clayart@lists.clayartworld.com>
Subject: Re: [Clayart] top 20 list
Message-ID:
        <MWHPR15MB1469EAB98528DC38A202BA60C6229@MWHPR15MB1469.namprd15.prod.outlook.com>

Content-Type: text/plain; charset="iso-8859-1"

Vince sez: "We don't have enough information on potters who have risen to
success in the 21st century to know how influential they will be. "

Another view perhaps, would be to direct the students to do a well-considered paper on the influence George Orr had on Robert Arneson and Clayton Bailey et. al.

And how this California influence has evolved to influence Modern domestic Studio Pottery expressions.

Including Vince, your own personal evolution away from the table and kitchen ware you did in the Humbolt studio eons ago, to your larger "sculptural buckets, pitchers, and pots" that give an honoring nod to the utilitarian well they were drawn from.

Students working together in a studio influence each other as well.
If one would stop and think, one might ponder, why so many folks are hung up on hierarchical assessment of who was most successful, or influentially great? It is such a huge world of clay work and opportunity, relax and enjoy!!!

Some presentations and assignments to students, if one breaks it down, are to satisfy the administration that you did something in class that they in the competitive Ivory Tower spirit can understand.    Like they never get much beyond learning how to "center" themselves on the toilet. And when they did take an obligatory Ceramics Class on pass/fail we gave them a pass as a professional courtesy.

In Morocco I met a potter throwing pots on an old wooden wagon wheel mounted on a wooden bearing stake driven into the ground.  He plopped the ball of clay on the central hub disc, gave the wheel a healthy spin and as the slightly wobbling wheel spun, he leaned over the ground level wheel and his body wobbled with it in a gracefully joyful dance as truly great vessels rose, formed, and grew large under the tutoring of his capable hands.
Out of respect that he had a living to make we didn't attempt to converse verbally, but with a nod and direct eye contact, our eyes spoke everything in recognition of what fellow potters need to say.

I like to think that our meeting was an encouraging relief from the not understanding hordes waving selfie sticks he had to endure each day.

Or the Potters of U.S. South East who dig their own clay and then make sure to fill in the freshly dug pit so the neighbors cow doesn't slip in and become mired.  Great and influential pots, sought all up and down the Coast, and down to earth folk art pots and jugs that are also influential in their own genre as well.

Too big is our world to allow ourselves to apprehend it in tunnel vision.

Misneach,
Woof.....................now my lyttle Muse form N. Carolina sez if I don't make her a set of face mugs and jug, she is a gone gal by morning!!!!...........I better get busy then, huh????......<(; >0)=}========<.................
###########################################################################################################################
________________________________
From: Clayart <clayart-bounces@lists.clayartworld.com> on behalf of vpitelka@dtccom.net <vpitelka@dtccom.net>
Sent: Friday, January 28, 2022 10:17 AM
To: 'Clayart international pottery discussion forum' <clayart@lists.clayartworld.com>
Subject: Re: [Clayart] top 20 list

This is devolving into a fiasco of favorite potters or "best" potters rather
than the twenty MOST INFLUENTIAL POTTERS of the past century, which is what
Jeff Weiland asked for.  And by influential, I am assuming Jeff means the
potters who had the greatest influence on the subsequent evolution of
utilitarian studio pottery (not sculptural vessels or pure sculpture).  And
if you are talking about the most influential on the evolution of
utilitarian clay, it lets out all the most recent potters, however wonderful
they are.

My list is confined to the twenty potters who I think had the greatest
influence on American utilitarian studio pottery, because that's what I know
from my 30 years teaching ceramics in academia.  So please remember that
this is must my own opinion.  I'm selecting from throughout the 20th
century.  We don't have enough information on potters who have risen to
success in the 21st century to know how influential they will be.

Adelaide Alsop Robineau, Charles Fergus Binns, George Ohr, F. Carlton Ball,
Bernard Leach, Michael Cardew, Val Cushing, Warren McKenzie, Toshiko
Takaezu, Ken Ferguson, David Shaner, Lucie Rie, Shoji Hamada, Robin Hopper,
Tom Coleman, Ellen Shankin, Jeff Oestreich, Linda Christianson, Randy
Johnston, Josh DeWeese.

Who have I left out?
- Vince

Vince Pitelka
Potter, Writer, Teacher
Chapel Hill, NC
vpitelka@dtccom.net
www.vincepitelka.com<http://www.vincepitelka.com>
https://chathamartistsguild.org/

-----Original Message-----
From: Clayart <clayart-bounces@lists.clayartworld.com> On Behalf Of Jeff
Weiland
Sent: Thursday, January 27, 2022 4:36 PM
To: Clayart international pottery discussion forum
<Clayart@lists.clayartworld.com>
Subject: [Clayart] top 20 list

I'm working on the curriculum for an advanced high school ceramics class. I
have a question...and wanted to start a debate!!!! I find great value in
learning from but not copying potters from years gone by. We already work
with porcelain and Chinese forms, earthenware and Greek forms, Native
American forms with slip decoration, and a few other cultures. What I want
to compile is a list of twenty or so most influential potter/artists, from
the past century or so, that I can use for research assignments. I have some
of my favorites like Reitz, Voulkos, Coleman, Troy, etc. Suggestions and
"why" would be welcomed. Variety is important.

Jeff Weiland
409 Blaine Street
Knightstown, IN 46148
765-345-2021
weiland@hrtc.net

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Message: 5
Date: Fri, 28 Jan 2022 16:40:24 -0500
From: Terry Lazaroff <terrylazaroff@gmail.com>
To: Clayart international pottery discussion forum
        <clayart@lists.clayartworld.com>
Subject: Re: [Clayart] great Pottery Throw Down? mending lamp base w/
        glaze
Message-ID: <C3DAD431-B3B5-4AE7-AE8F-F53387A2DD61@gmail.com>
Content-Type: text/plain; charset=utf-8

I personally find these reality shows a crock.   I look at the chef shows.  They run in the kitchen, they taste food and re use the spoon to stir, and it is amazing that they can plate in ten seconds.  All Bs.

Terry

Sent from my iPad

> On Jan 28, 2022, at 4:24 PM, Carolyn Curran <cncpots2@gmail.com> wrote:
>
> ?It just dawned on me that the Pottery Throw Down Show may be a weekly show
> -which might explain the rushed schedule.  When you. binge  watch on a
> streaming channel, you forget the time constraints.    But still, they use
> a big deal expert kiln man to fire the pieces and you would think he  could
> candle for longer period of time...   If I were a contestant, I would be
> ticked off if my pieces were not dry. and exploded....especially when the
> host potters always go on. and on  about drying the ware completely before
> putting in the kiln.   Maybe they  have to sign a release  of some sort
> before they get on the show.
>
> And I still think  potters can't really use glaze as a mender in most
> cases...
>
> I think I am most of all fascinated by the toilet projects or other water
> challenges  they show  on show.   And   of course  I am hyper critical when
> they have  a  segment  throwing  pots in miniature scale,  since that's
> been my thing for many decades.  Cheerio!
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL: <https://lists.clayartworld.com/pipermail/clayart/attachments/20220128/26ed78b8/attachment.htm>


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Message: 6
Date: Fri, 28 Jan 2022 14:39:52 -0800
From: Hank Murrow <hmurrow@efn.org>
To: Clayart discussion forum <clayart@lists.clayartworld.com>
Subject: [Clayart] Some Important Mentors.....
Message-ID: <ECE2B755-374D-4286-B85B-89062A74B7FA@efn.org>
Content-Type: text/plain;       charset=utf-8

Dear Clay Folks;

I can only submit a very personal list of potters who influenced me through workshops, and studio experience.

Note: My list has little to do with fame or notoriety, despite those names who have accrued same. These are

people like Peter Voulkos, who taught me to wedge the oriental way with the 1000 pound batch of his clay I

mixed for his Oregon workshop in '59.

Then there is Robert James, who gifted me with a lifelong love of metaphor and firing. He trusted me with the

school Alpine for my first firing in a kiln of any kind. He also trusted me with the care of his young childen

when he and his wife Connie went to an event or a movie. Michael Cardew helped me to make a 5 foot by 40 foot

record on heavy craft paper of his two weeks of lectures on the blackboard, which eventually became a help with

his writing "Pioneer Potter". David Stannard worked at his studio on Hilltop outside Eugene, with me watching

his every move, and never complaining when I asked why or how. In fairness, to not impede his work, I waited

until he served the inevitable fresh baked bread with coffee afterwards. He also allowed me to overfire that first

Alpine, gently suggesting that it might be finished, and I shold draw on the blackboard how the cones looked when

I set them up. Then he retired the 10 Oclock pm studio, and left it up to me to figure it out.

Since thoase days, I have built as many as 175 kilns, and I give him the credit for never squashing my enthusiasm,

along with Bob James himself, who quietly told me where to find the spare parts to get that overfired Alpine back

in service! which I did that very day by dinnertime.

Our own Vince Pitelka, newly in a wheelchair due to a horribly battered leg from an accident in the Escalante

Canyon, let me teach his students for 8 weeks at the Appalachian Center for Craft, and fire a soda kiln, and the

bigger stoneware kiln, and daily show his students how I worked , while building those kiln loads of my stuff.


George Kokis hired me in the absence of his boss, Henry Lin, at Ohio U. in Athens, and between us both we created

a fine opportunity for those students in which to grow and learn. I returned the favor later, when I helped him to

get the job from which he retired, at the U of Oregon. Hamada Shoji and his son Shinsaku endured my questions at

the workshop they gave at USC, and along with my partner in the Venice PotShop, Jane Heald, we enjoyed a fine

lunch Jane brought most days during those several weeks, and I made sure that there were Dos Equis beers on hand,

which improved their willingness to speak English noticeably after lunch. Jane became the Mother-who-Understands-

and-Inspires me for the remainder of her very creative life.

In 1996, I asked Harry Davis to come for a workshop at the U of Oregon for three weeks, scrounging funds from the

City of Eugene for this, and he responded with a memorable series of morning and evening talks about the various

potteries he worked in in England, and later started in Africa, Peru, and New Zealand. Copies of those notes he also

used to help him write his own book, ?The Potters?Alternative?. 

James Laub was a student at Ohio, who became a best friend there, and gave me the chance to build my first lifting

fiberkiln, a 350cuft kiln, serving two firing pads from an overhead beam and a traveling winch. This formative design for a

factory he was building freed me up to develop my own studio-sized(28 cuft) lifting version that eventually led to two dozen,

built for potters in Canada and around the US. Jim, having sold his own group shop in Eugene, is retiring to do his own work,

and we are building a new version of our design, a bit smaller at 12cuft, for his new situation. Perhaps if it is successful, we will

find a manufacturer who wants to build it for other potters. At 83, I am more interested in continuing my own clay work than

making money, and my own Doorless Fiberkiln is newly re-lined with Zircoonia-reinforced fiber that promises a lifetime(and beyond my own)

of fires, as it has only 500 or so on it at present. I will have a younger potter in my will to gift it to. The copy in the Shadbolt Centre in

BC has 2400 fires to its credit, so I am encouraged.

There have been others who were just as generous to me during my 64-year apprenticeship, but those will have to await another

day and another chin-wag with the Clayart Community. Meanwhile, I have my own book to write and self-publish if I can. I will

call it A Potters Primer, as I hope it will reach young ears and eyes who are starting in clay, and might find a helping hand useful.

Cheers! to Clayart list serve, Hank in Eugene









End of Clayart Digest, Vol 74, Issue 69
***************************************