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Articles

Vase, named Ouchi Tsutsu. Chinese, Southern Song period (1127-1279) Zheijiang Province, Loquat kilns. Stoneware with celadon glaze. Photo courtesy of Nezu Institute of Fine Arts, Tokyo.
The 1999 International Woodfiring Conference: The Death and Life of Woodfiring in Asia
By
Louise Allison Cort
In this year when everyone seems to be talking about the millennium, it does seem meaningful to speak about a millennium-long span, between roughly the years 1000 and 2000 of our era, when woodfiring as an industry for producing wonderful pots attained its greatest development.
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Fires of Innocence, Fires of Experience
By
Jack Troy
Kindling our interest in woodfiring may begin incrementally, like striking a match, looking through a spyhole at heat-light as intense as a strobe that won't blink, and feeling the warmth in a cup that keeps being new, no matter how many times we pick it up.
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Alkaline-glazed stoneware fifteen gallon storage jar, Daniel Seagle (1805-1867), Catawba Valley, North Carolina.
The 1999 International Woodfire Conference: Tradition Is The Future
By
Mark Hewitt
I wonder, are there degrees of traditionalism? Are some traditional potters more traditional than others? There is no litmus test to determine whether someone is a tradi­tional potter, no seal of authenticity verifying membership. So what is at the core of tradition?
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Pennsylvania Passages: Part One: Jack Troy
By
Jack Troy
Between 1972 and 1975 I built this house. I didn't borrow any money to build the house, I did it all with money from pottery sales. I had taken a fifty-percent cut in my teaching salary at Juniata University, so I really worked hard.
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Building 300 cu. ft. kiln at Duck Pool Cottage, 1994.
The Kiln as a Tool, By Svend Bayer
I am mostly described as a British potter. Actually I am Danish, but I have lived long enough in England to feel compelled to start my contribution with an apology.
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Willi Singleton
Pennsylvania Passages: Part One: Willi Singleton
By
Willi Singleton
My father accepted a job in Kobe, Japan as director of a center for exchange students. I went to Japan to find work as an apprentice...
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Leroy Johnson
I've shown my work all over, in Israel and here to many white audiences. Often my work has dates to signify historical moments in Black history.
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