2009 MEDIA KIT Connecting You with the Ceramics Community

• Welcome to the Community, page 2
• Market Coverage, page 3
• Influencing the Community, page 5
• Purchasing Activities, page 6
• 2009 Editorial Calendar, page 9
2009 MEDIA KIT
Connecting You with the Ceramics Community
• 2009 Rates & Specifications, page 10
• Total Market Coverage, page 12
• 2009 Ceramic Art Guides, page 13
• Ceramic Arts Daily, page 14
• Contact Information, page 16
2009 Ceramics Monthly Media Kit
1

Artist: David Eichelberger
Welcome to the Community
2 2009 Ceramics Monthly Media Kit
PASSIONATE | INSPIRED | ENGAGED
Every month, Ceramics Monthly celebrates
the ceramic arts with a passionate, inspired
community of artists and instructors.
Ceramics Monthly readers are deeply committed
to creative exploration and achievement,
and we place you at the center of this
endeavor, where sharing creative ideas turns
to action, and artistic vision becomes reality.
Make your organization a true partner in the
creative process by joining our community. So
get ready, get involved and get results.
Charlie Spahr
Publisher
Sherman Hall
Editor

Market Coverage
Reach Today’s Most Passionate and Accomplished Ceramic Artists
8% Student
How Ceramics Monthly Subscribers
Are Involved with Ceramic Arts Skill Level in Making Ceramic Art
29% Enthusiast
Educator/teacher
2% Owner/manager of craft shop, etc.
5%
14%
Other
How Subscribers Gained
Their Skills in the Ceramic Arts
College/University 72%
Workshops 69%
Art/Community Center 57%
Self-taught 57%
Commercial/Private Studio 42%
17% Taught by friend/relative
42% Professional (derive income)
52%
Advanced
(mastered most
aspects)
Source: “Ceramics Monthly: Subscribers’ Commitment To And Engagement With The Ceramic Arts Community”; Martin Akel & Associates; 2007
4%
44%
Intermediate
(mastered some
aspects)
Beginner
(learning fundamentals)
96% Make Pottery/Ceramic Art
87% Make Functional Pottery
77% Make Sculpture, Tiles, etc.
Artist: Joseph Pintz
2009 Ceramics Monthly Media Kit
3

Your Sales Message in Ceramics Monthly Reaches
a Total of More than 173,000 Subscribers and Pass-along Readers
Total Ceramics Monthly Audience Primary Subscribers + Pass Along Recipients
1. Total Paid/Requested Circulation 29,915
2. Average Pass-Along Recipients/Copy 4.8
3. Total Pass-Along Recipients/Issue 143,592
TOTAL MARKET REACH 173,507
From the Publishers Statement for the June/July/August 2008 issue.
How Ceramics Monthly Subscribers Are or Have Been Involved
in Teaching/Training Other Artists
87%
Teachers/
Trainers*
Sources: “Ceramics Monthly: Subscribers’ Commitment To And Engagement With The Ceramic Arts Community”; Martin Akel & Associates; 2007
4 2009 Ceramics Monthly Media Kit
Teaching courses 45%
Teaching workshops,
seminars
Delivering presentations
at exhibitions
Delivering presentations
at less formal meetings
Training others at craft
shops, art centers
Training others one-on-one
(friend, relative, etc.)
Mentoring others 35%
*Subtotals are unduplicated.
29%
37%
40%
40%
In addition to the paid monthly circulation
and retail distribution, Ceramics Monthly
also offers bonus distribution at high-profile
industry events, such as the NCECA and NAEA
conferences, and SOFA expositions.
53%
Teach Courses/
Workshops*
47%
Deliver
Presentations*
61%
Artist: Michael Lancaster
Percentage of
Subscribers
Who Have Written
Ceramic Art Related
Articles or Have
Been Interviewed for
Articles:
34%

Ceramics Monthly Subscribers – Status As Opinion Leaders
In The Ceramic Arts Community
Frequency of Being Sought Out for Advice on Ceramic Art
DESIGN, TECHNIQUES, APPROACHES
87%
Opinion
Leaders
Ceramics Monthly Subscribers
Impact the Activities of Their Peers
17%
Very frequently
28% Frequently
13% Rarely/never
0 10 20 30 40 50
Number of Ceramics Monthly
Issues Read
1%
Less than
half/few
or none
45%
Frequently
80%
All issues
17%
Most
issues
2%
Half the
issues
42% Sometimes
Frequency of Being Sought Out for Advice on Ceramic Art
PRODUCTS, EQUIPMENT, SUPPLIERS
80%
Opinion
Leaders
Ad Page Exposure
How Subscribers Go Through
Issues of Ceramics Monthly
75% Front to back
22% Look at most pages
2% Look at half the pages
1% Less than half/few
or none
12% Very frequently
33%
Frequently
21% Frequently
20% Rarely/never
47% Sometimes
0 10 20 30 40 50
Artist: Doug Herren
2009 Ceramics Monthly Media Kit
5

93%
Prepared clay
70%
Raw materials
Subscriber Purchasing Activities
60%
Prepared glazes
Sources: “Ceramics Monthly: Subscribers’ Commitment To And Engagement With The Ceramic Arts Community”; Martin Akel & Associates; 2007
Ceramics Monthly subscriber survey; July 2008
6 2009 Ceramics Monthly Media Kit
Purchased
Within
Past 24 Mos.
Currently
in the
Purchasing
Process
Will
Likely/ Possibly
Purchase
(Next 24 Mos.)
Have
Purchasing
Activities*
Prepared clay 87% 16% 29% 97%
Raw materials 67% 14% 39% 90%
Prepared glazes 67% 8% 41% 84%
Hand tools 83% 10% 39% 96%
Molds 25% 8% 30% 48%
Clay mixers/pug mill 8% 5% 24% 29%
Kilns 41% 1% 30% 69%
Wheels 45% 4% 39% 61%
Slab rollers 27% 3% 38% 64%
Extruders 23% 1% 34% 60%
Studio furniture 27% 2% 35% 59%
Ownership of Ceramic Art Materials
Products and Equipment
98%
Hand tools
43%
Molds
22%
Clay mixers
/pug mill
78% 76%
Kilns
Wheels
42%
Slab rollers
36%
Extruders
74%
Studio furniture (racks, shelves, tables, etc.)
*Unduplicated
Trend in Expenditures (Next Two Years)
61.2%
Increase
33.9%
No change
Decrease
5.4%

Ceramics Monthly Subscribers Continually Invest in
Materials, Products & Equipment
Mixing Glazes and
Purchasing Premixed Glazes
16% Buy
premixed
35%
Mix own
Ceramics Monthly Subscribers Make Extensive Use of Glazes and Kilns
44%
Mix own &
buy
premixed
5%
No involvement
with glazes
HANDS-ON INVOLVEMENT
WITH GLAZES: 95%
Glaze Firing
Ranges Used
64% High-fire (cone 8 - 12)
64% Mid-fire (cone 4 - 7)
58% Low-fire (cone 08 - 04)
14%
China paints/lusters
(cone 022 - 018)
89% Electric
40% Gas
31% Raku
Average Number of Friends, Relatives and
Associates Subscribers Interact With,
Who Are Also Ceramic Artists:
20.2
People
Artist: Kensuke Yamada
Types of Kilns
Owned or Used
11% Wood-fired
10% Other
HANDS-ON INVOLVEMENT
WITH KILNS: 91%
(Unduplicated)
2009 Ceramics Monthly Media Kit
7

focus the potter’s life
Sylvie Granatelli
focus the potter’s life
Every Issue of
Ceramics Monthly Includes . . .
ANSWERS
Technical problemsolving
advice from
experts in the field.
From Average
to ExcEllEnt
by Marc Leuthold, with Sarah G. Wilkins
During the Renaissance, artists and their aristocratic patrons had
strong ideas about quality in art. Michelangelo’s story of patronage
by the Medici family illustrates how people in Florence and Rome
responded to great art in the sixteenth century. When his “David”
was unveiled, its excellence was so obvious that citizens papered the
site of the statue with flowers and notes exclaiming, “You have given
us our self respect…We are proud to be Florentines…Bravo!”
Lorenzo de Medici’s daughter gushed, “Everything my father
hoped to accomplish for Florence is expressed in your David.” Today
it is hard for us to imagine the impact of this singular work. Florentine
citizens literally began to record the timing of events relative to
“The Unveiling.” Historians attributed a subsequent flowering of
trade and culture directly to this magnificent sculpture.
In Japan, great ceramics are similarly revered. Most houses and
apartments have small spaces for a treasured ceramic vessel holding a
Ceramics Monthly March 2008
32
M o n t h l y
June/July/August 2008 $7.50 (Can$9) www.ceramicsmonthly.org
This piece was created by Ceramics 3
student Chantel Torrey. The focus of
Ceramics 2 and 3 courses is on traditional
and nontraditional solutions to functional
and nonfunctional forms generated on the
potter’s wheel.
Silvie Granatelli carves a large leather-hard bowl in her Floyd,
Virginia studio.
The FIrsT TIme I touched clay was at the Kansas City Art Institute
in 1966. From that moment on, my life revolved around figuring
out how to make a living with ceramics. In the ’60s, there were not
many contemporary examples of studio potters, but Ken Ferguson,
my professor, made his students aware that being a professional potter
was a real possibility. At that time, the many things I didn’t know were
a blessing. I thought everything was possible. After graduate school, I
worked in several communal studios in and around my native Chicago
before making my way to the south.
As a young potter, my central goal was to make a seamless balance
between my studio work and my domestic life. After many fits and starts,
I ended up in Floyd, Virginia, where I set up a studio. I spent the first
twenty years of my career doing craft shows and selling wholesale to galleries.
I also did workshops, which greatly supplemented my income.
It was initially difficult to figure out the perfect balance between
the options. The upside of craft shows was the direct interaction
between my audience and myself. They were a great place to see how
people reacted to new work. selling pots at a craft show is like handing
everyone your heart on a plate with a knife and fork. It can be a very
8 2009 Ceramics Monthly Media Kit
FEATURE STORIES
useful perspective and solid foundation. I’ve also learned that investing
in myself helps other people take me seriously as well. As a potter, all
you have is your pots, the way you present them, and yourself. If you
want to succeed, you have to seriously consider what it takes to get the
presentation right. I have a web site, business cards and well-designed
Profiles of ceramic brochures advertising the 16 artists—what
hands tour. These advertising tools help
make my work visible to the public. And, perhaps most importantly, I
never say no to an opportunity that might help me grow in my field.
they're working Ceramics Monthly June/July/August 2008on,
why, and their
36
techniques for success both inside
the studio and out.
vulnerable experience.
The real downside of doing craft shows was the amount of time
I had to spend away from the studio. In that regard, selling pots
wholesale was a boon, allowing me to stay home and work. But the
equation worked only if I managed to spend the right amount of time
filling orders while still sustaining a large enough percent of my income
through this work. filling wholesale orders had its drawbacks, too—I
realized I just had to make too many pots!
SUGGESTIONS
Inventive studio tips and solutions
from our ingenious readers.
“Wall Service,” 60 in. (152 cm) in width, glazed earthenware, mixed media, by Mary Wilmart, tutorial student. At SUNY Potsdam,
tutorial courses focus on the development of a personal artistic voice.
flower arrangement. At some museums, visitors can have tea served I have never felt comfortable giving high praise or high marks
in a bowl selected from the teahouse collection. One New Year’s merely because I happen to “like” a student’s project. That seems
Day ritual centers around a great pot which may contain tea with unfair to students and undermines their goal of finding an indi-
flecks of real gold leaf floating on the surface.
vidual artistic voice. Haven’t we all seen student work that looks
Japanese ceramics have long been part of Western collections. too much like their instructor’s? In addition to qualitative issues,
From the early twentieth century onward, Japanese pottery tech- helping students avoid making derivative work is a priority. How
niques and aesthetics, promoted by Bernard Leach and others, have can I teach them to know when their work is original and above
profoundly influenced the arts. Today the worldwide reverence average, and when it falls below the mark?
for Japanese ceramics is unquestioned. The quality is visible. You Young people taking introductory college courses typically
can see it. Or you can learn to see it, with guidance. However, don’t know when they are making good work. Earlier in their lives
discernment is not an easy thing to teach.
educators have taught from the perspective that judgment inhibits
It is especially difficult to teach this in our culture, which holds student creativity. While appropriate then, I believe that the op-
that the value and quality of art is a matter of personal opinion; that posite is true later on. At the college level, educators have a duty
it’s entirely subjective. How do you educate young people to make to instill critical criteria to give adult students the tools for making
art when many have never been to a museum and the majority grow good judgments. Critiques are essential to the process.
up without original art in their homes? And, of course, students in Future artists first need to learn to balance the brainstorming,
college classes expect the results of their diverse artistic efforts to execution and resolution stages of the creative process. Then they
equate to single letter grades. This is the challenge to educators. submit their efforts to the court of public opinion. The moment
Ceramics Monthly March 2008
33
Silvie Granatelli
Deeply Invested
Of all my income options, traveling to teach workshops was perhaps
the most gratifying and fulfilling. While standing in front of students,
I was able to further articulate my ideas, work on new forms as demonstration
pieces and visit wonderful places.
Over the past ten years, I have developed a new and more stable
source of income by working closely with a group of craftsmen who
live in my community. Together, we started 16 hands, an art collective
whose main approach to selling work is a self-guided tour of our
studios. Through this tour, held twice a year, and through year-round
sales in my studio gallery, I am able to generate most of my income. To
make up the remainder, I still do workshops and participate in gallery
shows around the country.
In hindsight, I realize it was fortuitous that I settled in a location
where the cost of living was affordable. I own a home and property near
a small river in southwest Virginia, and I have health insurance and a
retirement account. health insurance is expensive for the self-employed.
In fact, it is my largest yearly bill.
I am also frugal and conscientious of my spending habits. I don’t
take out loans to pay for more equipment, additions to the studio, or
advertising. Instead, I take on small teaching jobs, workshops, or make
special order pottery. I also save 20–30% of my yearly income, which
has provided a financial cushion. I consider this money fluidly available
for use throughout the year. And if it is not used, at the end of the year
I invest it in something I need. I do my own bookkeeping but hire an
accountant for taxes, a habit I’ve kept from even my poorest days. This
financial plan has held me in good stead for years, allowing me to travel
and cook gourmet food, two of my favorite pastimes.
I’ve been fortunate to undergo my professional maturation surrounded
by a group of potters in Floyd and the surrounding area.
happenstance has brought us together, connected by like-mindedness
and mutual respect. After years of helping each other with technical
problems, sharing trips to craft shows, and giving each other advice
on both business and personal issues, I can’t imagine a life without our
close-knit community of artists.
If I have a business philosophy, it begins with the fact that I chose
this life for a reason and I am willing to invest in it deeply. I take my
work and my life seriously, and I believe this attention has given me a
FOCUS
Relevant topics discussed in depth by knowledgeable leaders in the field.
FROM THE EDITOR
A call to creative action
from the studio and from
the field.
LETTERS
A community forum for readers
to share insights and opinions.
UPFRONT
Reviews and announcements of current and upcoming exhibitions.
calendar Conferences, Exhibitions, Workshops, Fairs submit listings at www.ceramicsmonthly.org
conferences
Seelig and Kim Stafford. Fee: $310. Contact Haystack Tennessee, Gatlinburg September 10–13 “Utilitar-
Mountain School of Crafts, PO Box 518, Deer Isle ian Clay V: Celebrate the Object National Symposium.”
Indiana, Indianapolis September 19–21 “Surface, 04627; www.haystack-mtn.org.
Contact Arrowmont School of Arts and Crafts, 556
Form and Substance: Potters Council Regional Confer- Michigan, Grand Rapids October 2–4 “Sculpture Parkway, Gatlinburg 37738; info@arrowmont.org;
ence” includes presentations and demonstrations with in Public: Part 2, Public Art,” includes special exhibition, www.arrowmont.org; (865) 436-5860.
Debra Fritts, Ovidio Giberga, Susan Kemenyffy, Eva panel discussions and trade fair. For more information, New Jersey, Garden City June 27–29 “Island
Kwong, Jeffrey Nichols and Lana Wilson. Fee: $330; mem- visit www.sculpture.org.
Clay,” includes lectures and demonstrations on
bers, $285. Contact Potters Council Amaco/Brent, 6060 North Carolina, Asheboro March 13–15, 2009 alternative firing methods with Jeff Shapiro, Bill
Guion Rd., Indianapolis, IN 46254; cdorr@ceramics.org; “North Carolina Potters Conference–Form and Shillalies, Anti Liu, Mena Romano and Hugh McElroy.
www.potterscouncil.org/surfaceformandsubstance; Function,” includes lectures and panel discussions Keynotes by Aurthur Goldberg and Judith Schwartz.
(866) 721–3322.
with Phil Rogers, Mark Pharis, Allegheny Meadows. Fee: $330; members, $285. Fee after June 4: $380;
Maine, Deer Isle July 13–17 “The Language of For more information, contact the Randolph Arts members, $335. Contact the Potters Council, 600
Craft,” includes lectures and panel discussions with Guild, Moring Arts Center, 123 Sunset Ave., P.O. Box N. Cleveland Ave., Ste. 210, Westerville, OH, 43082;
Paulus Berensohn, Akiko Busch, Charles Garoian, Ja- 1033, Asheboro 27204-1033; arts@asheboro.com; www.potterscouncil.org/islandclay.
net Koplos, John McQueen, Margo Mensing, Warren www.randolphartsguild.com; (336) 629-0399.
solo exhibitions
Arizona, Tempe through August 2 “Susan Beiner:
Synthetic Reality”; at Arizona State University Art
Throwing & Handbuilding: Museum, 10th St. and Mill Ave.
Forming techniques
California, Los Angeles July 5–August 30 Z Jacobson;
at Del Mano Gallery, 11981 San Vicente Blvd.
California, Oakland July 7–20 “Beauty and Power:
New Work by Misty Gamble” at Cricket Engine Gallery,
499 Embarcadero Ave., Bldg. #3.
DISCOVER challenging, complex and unique techniques
D.C., Washington through June 18 Hyun Kyung
Yoon; at Cross Mackenzie Ceramic Arts, 1054 31st St.
Idaho, Coeur d’Alene July 11–August 9 Beth
by some of the foremost studio artists working today.
Cavener Stichter; at The Art Spirit Gallery, 415 Sherman
Ave.
Illinois, Chicago through June 7 Tyler Lotz, “Cul-
call tured Cleaning”; for at Dubhe entries Carreño Gallery, 1841 S. Deadlines for Exhibitions, Fairs and Festivals Submit online at www.ceramicsmonthly.org
Halsted St.
Each of the 23
June 2–30 Trey Hill; at Lillstreet Art Center, 4401
international exhibitions incorporating a historical theme, trend, application or Fee: $35 for three entries. Juror: Patti Warashina, Archie
N. Ravenswood.
featured artists
technique. Fee: $25 for three images. Juror: Linda Sikora. Bray Voulkos Fellow. Contact Archie Bray Foundation for
June 6–August 1 Frank Saliani, “Abstractions and As-
June sociations”; 1 entry at deadline Function+Art, 1046 W. Fulton Market.
Contact Kate Whorton, Genesee Pottery, 713 Monroe Ceramic Arts, 2915 Country Club Ave., Helena 59602;
reveals practical
New York, New York “14th Annual International Ave., Rochester 14607; pottery@geneseearts.org; www.archiebray.org; (406) 443-3502, ext. 18.
Maryland, Bethesda through June 7 “Beauty
Exhibition” and the Beast: (July 17–August Ceramic Vessels 13), open and to Sculptures all media. by www.geneseearts.org.
September 19 entry deadline
techniques, and Juried Liz Lescault”; from digital at and Waverly slides. Street Fee: Gallery, $30 for 4800 three East- en- July 7 entry deadline
Pennsylvania, Wayne “Craft Forms 2008” (De-
shares insightful
tries. West Juror: Hwy. Chakaia Booker. Contact SOHO20 Chelsea South Carolina, Rock Hill “19th Annual Juried cember 5–January 22, 2009), open to contemporary
Gallery, Massachusetts, 511 W. 25th St., Boston Suite through 605; New June York 9 “Ceramics 10001; Competition” (August 20–September 21). Juried from craft. Juried from digital and slides. Fee: $40; online
information you
http://soho20gallery.com/juried.htm.
by Sung Jae Choi.” June 14–July 14 “Ceramics by Ken digital or high-quality photographs. Fee: $30. Contact submission, $30. Contact Wayne Art Center, 413
Matszuaki”; New York, New at Pucker York “Stories Gallery, We 171 Tell Newbury Ourselves” St. (July Arts Council of York County, 121 E. Main St., Rock Hill Maplewood Ave., Wayne 19087; www.wayneart.org;
can use in your
12–August through 2), June open 15 to “Inspired all media. by Juried Japan: from Pottery digital. and Textiles Fee: 29732; www.yorkcountyarts.org; (803) 328-2787. www.craftforms.com.
$45 by for Susan three Kotulak”; entries; $5 at each Vessels for Gallery, additional 8 Union entries. Park Con- St. July 10 entry deadline
November 26 entry deadline
tact Rhonda Massachusetts, Schaller Studio, Northampton 547 W. 27th through St., Suite June 529; 29 Spain, La Rambla (Córdoba) “Exposition of Pottery Montana, Missoula “International Cup” (February
own work at
New “Tom York White: 10001; Wood, info@rhondaschallerchelsea.com;
Salt and Soda.” August 8–Septem- and Ceramic.” Juried from digital or photographs. No Fee. 6–28, 2009), open to ceramic cups from around the
your own pace.
http://rhondaschallerchelsea.com; ber 14 “Aysha Peltz: Stolen Moments”; (212) 967-1338. at The Artisan For prospectus, visit www.ceramicadelarambla.com. world. Juried from digital or slides. Fee: $20 for one en-
June Gallery, 2 entry 162 Main deadline St.
July 15 entry deadline
try; $25 for two entries. Juror: Patti Warashina. Contact
Illinois, Massachusetts, Chicago “1st Pittsfield Annual Lillstreet August International” 23–October
Colorado, Estes Park “12th Annual Lines into The Clay Studio of Missoula, 1106 Hawthorne St., Unit
(September 4 Sergei 1–October Isupov, “Androgyny”; 1), open to functional at Ferrin Gallery, porcelain. 437
Shapes” (September 19–October 4), open to all me- A, Missoula 59802; info@theclaystudioofmissoula.org;
Juried North from St. digital. Fee: $30 for three entries. Juror: dia. Juried from digital or slides. Fee: $13/entry. For www.theclaystudioofmissoula.org; (406) 543-0509.
Minnesota, Minneapolis through July 20 “The
Sam Chung, Assistant Professor of Ceramics, Arizona prospectus, visit www.artcenterofestes.com; or send February 1, 2009 entry deadline
Only
State
Cosmic
University.
Collection
For prospectus,
by Josh Blanc”;
send
at
SASE
Clay
to
Squared
Lillstreet
to
SASE to Art Center of Estes Park, PO Box 3635, Estes Kansas, Pittsburg Call for Solo, Two Person or Group
Infinity-Infinity Gallery, 34 Thirteenth Ave.
Art Center, James Mitchell, Gallery Director, 4401 N. Park 80517; (970) 586-5882.
Exhibition Proposals. Juried from digital or slides. No Fee.
Ravenswood,
Montana,
Chicago
Helena
60640;
through
james@lillstreet.com;
June 1 “Jennifer Allen
$29.95 Farewell Exhibition”; at Archie Bray Foundation for the
August 1 entry deadline
For information, visit www.pittstate.edu/art/exopp.html.
www.lillstreet.com.
Ceramic Arts, 2915 Country Club Ave.
California, Graton “Fourth International Biennial Contact Pittsburg State University, 1701 S. Broadway,
June
New
7 entry
Mexico,
deadline
Santa Fe through June 1 “FracShard: Ashes to Art/Scattered” (September 26–November 30), Pittsburg 66762; sbowman@pittstate.edu; (620)
New New Works York, in New Clay York by Patrick “Home: Crabb”; The at Planet Patina Dreams Gallery, open to non-traditional funerary urns, scattering vessels, 235-4303.
of 131 Survival” W. Palace (September Ave. 5–October 2), open to reliquaries, biodegradable and ritual objects. Juried
all media. New Mexico, Juried from Taos through digital. June Fee: 21 $45 Caroline for Douglas; three from digital and slides. Fee: $35 for three entries; $5 united states exhibitions
entries; at Wilder $5 Nightingale each for Gallery, additional 119-A entries. Kit Carson Contact Rd. each for additional entries. Jurors: Adela Akers, Nadine
Rhonda New Schaller York, Alfred Studio, June 547 4–September W. 27th St., 26 Suite Chris 529; Miller; Jarvis and Sylvia Seventy. For prospectus, send SASE to June 1 entry deadline
New at The York Schein-Joseph 10001; info@rhondaschallerchelsea.com;
International Museum of Ceramic Funeria, PO Box 221, Graton 95444; pros@funeria.com; Maryland, Largo “Juried Sculpture Exhibition”
FREE Shipping when you order online
http://rhondaschallerchelsea.com; Art, Alfred University.
(212) 967-1338. www.funeria.com; (707) 829-1966.
(August 24–October 9). Juror: Kristen Hileman, Associ-
June 14 entry deadline
New York, North Salem through June 7 Pak-hing August 15 entry deadline
ate Curator of Contemporary Art, Hirshhorn Museum
(US Only)
Kan, New “Palm York, Treasures”; Rochester at “History Hammond in Museum the Making and Montana, Helena “Beyond the Brickyard” (January and Sculpture Garden. Contact Marlboro Gallery, Attn:
III” Japanese (September Stroll 26–October Garden, 28 31), Debeau open Rd. to all works 2009), open to artists working in clay. Juried from digital. Sarah Wegner, Prince George’s Community College,
ceramicartsdaily.org/books
New York, Port Chester through June 21 “Kyla
Toomey: The Objects of My Affection”; at Clay Art
Center, 40 Beech St.
866-721-3322
Ceramics Monthly June/July/August 2008
70
New York, Rochester July 4–27 Bethany Krull,
“Signal”; at Genesee Pottery, 713 Monroe Ave.
Ohio, Zanesville June 6–August 10 “Charles
Lakofsky: Ohio Modernist Master”; at Zanesville Art
Center, 620 Military Rd.
(continued)
CALENDAR/CALL FOR ENTRIES
Where artists can show their work
or see the works of others.
Ceramics Monthly June/July/August 2008
60
Comment why the y? by Robert Silverman
After teaching at the university level for par with the best college programs—not bad Morgin’s and John Byrd’s merger of mixed
twenty years, I have accepted a position as for a community art school!
media and clay. But everyday pottery and
director of the ceramics program at New But what drew me to the Y was more the vessel seem stuck in a state of perpetual
York’s 92nd Street Y. Those who know me than its impressive pedigree. Community reverence for the traditions established by
will not be surprised to learn that the deci- education itself interests me. Recently I have Shoji Hamada and Bernard Leach a halfsion
to relinquish tenure, summers off and thought a lot about the state of ceramics, and century ago. I am continually amazed that
free studio space in favor of teaching
the ceramics community is so hesitant
at a community art school was easy. I I am continually amazed that the to embrace technology and the indus-
have always tried to challenge myself
trial applications that other art fields
(and my students) to not be satisfied ceramics community is so hesitant employ so effortlessly. The marriage
with what is comfortable, to embrace to embrace technology and the of art and industry offers so many
change. This process of self-reflection
opportunities to affect society—the
industrial applications that other
has served me well over the course of
work of Marek Ceckula’s Modus De-
my career, and now it has led me to art fields employ so effortlessly. sign is a prominent example of this as
the 92nd Street Y.
are websites like DesignBoom, Core
I grew up in a Brooklyn home full of beau- it seems to me that the isolated and rarefied 77 and Domus—but the ceramics commutiful
Persian rugs, Chinese porcelain vases academic community has become stale and nity has not seized those opportunities. We
and other antique decorative objects made tired. Ceramic sculpture has continued to in the clay world should be working with the
from silver, glass and wood. My mother and push boundaries by investigating and em- ceramic industry to design new objects—not
grandmother would scour thrift stores and bracing interdisciplinary approaches; some leaving that work to industrial designers who
antique shops to find the most elegant and of the most inventive examples are the early have no experience with clay.
refined objects. But it was not until I found photographic work of Tim Roda, who uses Community education has the potential
myself in a study abroad program in Japan ceramics as props; Ken Price’s use of paint to be at the vanguard of this change by
in 1976, that I saw for the first time how as the surface for his sculptures; and Kirsten opening up students and artists to fresh
ordinary people used beautiful
ideas. Interdisciplinary courses
handmade objects in their daily
that incorporate ceramics and
lives. This changed my life.
3D modeling, public art, indus-
Back in the States, my acatrial
design, photography and
demic studies completed, I began
printmaking—both “live” in the
formal training as an artist. I
classroom and through distance
earned a B.F.A. and an M.F.A.
learning—are just of a few of
and taught at several different
the things that can help attract
institutions before accepting a
a wider and more varied student
tenure track position at Louisi-
population. While a number of
ana State University in 1991. I
innovative academic institutions
was fortunate to teach talented
offer some of these classes, the
undergraduate and graduate stu-
non-profit world the Y inhabits
dents, but in time found myself
(with little endowment) is sup-
thinking about a change in direcported
primarily by its students’
tion. This summer, I made it.
tuition and therefore must be
So why the 92nd Street Y?
quick to reinvent itself to meet
Their ceramics program has
the ever changing needs of the
an impressive history. A virtual
community and its various con-
Who’s Who of contemporary
stituencies. The 92nd Street Y
ceramics artists has taught there,
welcomes these ideas. That’s why
including Chris Gustin, Jim
I’m here—to reinvigorate a great
Makins, Warren McKenzie and
program at an institution that
Betty Woodman. Teachers of this
thrives on fresh ideas and new
stature and a strong curriculum
approaches, and to reinvigorate
have enabled the program to
myself, as an artist and an educa-
maintain a level of excellence on
The author instructs a student in his new gig at the Y.
tor, in the process.
Ceramics Monthly February 2008
88
COMMENT
Insightful perspectives on the
essence of being a ceramic artist.

Issue Focus Reservation deadline Materials deadline Details
JAnuARy Sculpting a Living from Clay –
Planning and Opportunities
November 19, 2008 November 26, 2008
FEbRuARy Old Clay, New Tricks:
Ceramic Technology
December 17, 2008 December 30, 2008
MARCH Education: Mud on the Brain January 21, 2009 January 28, 2009
APRIL Summer Workshops February 18, 2009 February 25, 2009
MAy Emerging Artists March 18, 2009 March 25, 2009
JunE/JuLy/ Work and Play: April 22, 2009 April 29, 2009
AuGuST/ The Potter’s Life
SEPTEMbER College Clay: July 22, 2009 July 29, 2009
Undergraduate Showcase
OCTObER Gallery Guide August 19, 2009 August 26, 2009
Artist: Heather Mae Erickson
2009 Editorial Calendar
nOvEMbER The Culture of Clay: Collaboration September 16, 2009 September 23, 2009
DECEMbER Feed the Need: Pots and Food October 21, 2009 October 28, 2009
• Our exclusive annual comprehensive listing of
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• Rapid Prototyping, computer assisted design/
manufacturing, and other tools for the techno-
ceramist.
• The state and health of community ceramic
education. Discussion of what trends and
long-term effects can be seen based on class
enrollment, gallery attendance, studio rental,
etc. Distribution at NCECA (National Council on
Education for the Ceramic Arts) Conference.
• The only complete listing of ceramic
workshops available for the summer of 2009
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Association) conference.
• Our ever-popular annual showcase of new
talent in contemporary studio ceramics.
• Professional potters share their experience on
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potter. From making to marketing, there is
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at SOFA (Sculpture Objects and Functional Art)
exposition.
• Artists who put aside ego and ownership in
exchange for the search for something more.
• Potters and chefs collaborate to create a verbal,
visual and culinary dialog between these two
closely related professions. Yum!
2009 Ceramics Monthly Media Kit
9

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2009 Ceramics Monthly Media Kit
11

12 2009 Ceramics Monthly Media Kit
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Program Notes
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nceca2008guide
focus design is not a dirty word
M o n t h l y
Heather Mae Erickson
designs for ambiguous function
focus design is not a dirty word
February 2008 $7.50 (Can$9, E6.50)
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2008
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M o n t h l y
NCECA 2008 at a Glance
Plan your conference days with this quick and easy reference guide
Pittsburgh Restaurants
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Exhibition Maps
Plan your tour schedule or take a walk around downtown Pittsburgh
Program Notes
Details on all conference events
Exhibitor Booths
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Brought to you by the publishers of
0 8
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