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Summer/Fall 2018
Education - Vol. 46, No. 2

This issue focuses on education in all its forms, including articles on K-12 education, post-baccalaureate studies, long-term internships, mentor-mentee relationships, teaching deaf and blind students, integrating clay work with memory care for senior citizens, artists residencies that focus on teaching, self-teaching through books, studying Iranian ceramics, and more. Members can view the digital issue online and full article texts below by logging in to the site. Join us today!

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Articles

Word from the Editor - The Education Issue
By Elenor Wilson
Let's...broaden our definition of education beyond formal settings, and even beyond mentorship, to include all experiences from which one learns, and in turn, creates.
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Reclaiming Memory: Expanding the Definition of Successful Learning
By Jill Foote-Hutton
NCC’s teaching artists, supported by the organization’s commitment to responsive, professional development, have developed a deep understanding of the human brain, of aging, and of healing that has helped shape the practice of ART@HAND.
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Wanphet unloads a kiln at her home workshop, 2018.
Of Jungles and Snow
By Anthony Richards, By Sa Wanphet
The effect of the colorful weaving wrapped in miniature around the terracotta vase is arresting; it is fine and coarse at the same time. The ethnicity is pure rural Thai heartland.
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Seth Rainville. Where There Is Smoke, 2018. 10x7x4.5 in. Wood-fired porcelain with slips and glaze.
Three Guys Walk into a Ceramics Studio...
By Kathy King, By Mark Burns, By Stuart Gair, By Seth Rainville
A conversation with Harvard Ceramics Studio Artists-in-Residence Mark Burns, Stuart Gair, and Seth Rainville; organized, moderated, and recorded by Kathy King at the Falmouth Arts Center, Falmouth, Massachusetts.
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Fred Herbst. Earth Wave, 2017. 10x10x4 in. Press-molded, anagama-fired  stoneware. Photograph by Molly Cagwin.
Putting the Community in College
By Fred Herbst
The studio provides a haven...for those whose personal communities (religious, ethnic, racial, and sexual- and gender-identity-based) are being targeted in our highly partisan culture.
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Title Page, State of Clay Education, by Stephen Creech, Vol. 46, No. 2, 2018.
The State of Clay Education
By Stephen Creech
I firmly believe that, as ceramic artists, it is our responsibility to fill this looming knowledge gap and help support the next generation of educators teach clay in the classroom, inspiring the future ceramic artists of America.
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Keyontee Patterson learns wheel throwing in the Ceramics 1 class at Gainsville High School, 2018. All photographs by author.
Adventures in Rebuilding a High School Clay Program
By Sara Truman
With college clay and art programs being cut across the nation because of low enrollment numbers and even lower funding, the clay community needs to re-evaluate its approach to recruiting students in both K-12 and higher education.
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Haley Martin, Northridge High School, Layton, Utah. Red Teapot Set, 2018. 6.5x17x5.5 in. Wheel-thrown, altered, carved, layered underglaze. Winner of three awards at the 21st Annual National K-12 Ceramics Exhibition, Pittsburgh, Pennsylvania.
Founded to Showcase the Best: A History of the National K-12 Ceramic Exhibition Foundation
By Bob Feder
None of the founders of k12clay ever dreamed that we would be where we are now, twenty-five years later. Somehow, the magic this dynamic exhibition generates seems to come back to us in generously in unexpected ways.
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Teacher Reflections on “k12clay”
By Anne Maurice, By Joy Jones, By Kelly Clark
Three K-12 ceramics teachers reflect on the value of the National K-12 Ceramic Exhibition (k12clay), and the influence it has had on their students and their schools' ceramics programs.
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The Most Valuable Clay in the World
By Jack Troy
No matter at what age we are introduced to ceramics, as long as we keep working with it, clay will be introducing itself to us, sometimes gloriously, exceeding our expectations; other times mocking us, as if to say, “Not that way, dummy!”
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These turquoise pots represent a changing pottery tradition. The fish motif  is traditional to the area around the village of Shah Reza, but the forms  and color cater to current fashions.
Finding (And Teaching) the Ceramics of Iran in a Contemporary Context
By Jillian Echlin
Despite, or even because of, an uptick in political tension and uncertainty in recent months, our pots place upon us a responsibility to be conscious of our world view.
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Ceramic plate by Tim Compton, beef course by Chef Alan Sternberg, 2017. Plate is wheel-thrown, 14x14x3 in. Photograph by Audra Sternberg.
Practical Notes for Engaging the Restaurant Industry
By Tim Compton
Ceramic wares and fine dining have gone hand in hand for a long time, but as each hip new restaurant works to find its niche in the culinary community, some are turning to handmade dishware for an advantage.
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Developing Voice and Vision: A Studio Internship Model
By Eric Botbyl
Knowing [my interns] has helped me ask measured questions, which I hope has kept them thinking as they work. The exchange is reciprocal...
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Working with Deaf and Blind Students
By Elizabeth Cohen
The idea of introducing visually impaired people to working with clay intrigued me because of the physical and psychological benefits it might offer them...their understanding of the world depends on what or whom they touch.
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Confessions of an Autodidact: Book Learning
By Suzanne Staubach
Books on ceramic history dominate my shelves. How could they not? With more than ten millennia of pot-making behind us, there is so much to investigate, explore, and write about.
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Student Essays
By Lukas Easton, By Will McComb, By Steven Osterlund
Three essays written by recipients of Studio Potter’s merit award for the National Juried Student Exhibition held during the 2018 National Council on Education for the Ceramic Arts (NCECA) conference in Pittsburgh, Pennsylvania, March 14-17.
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Potter Melissa Weiss holding one of her large bowls. Weiss digs her own clay in Northwest Arkansas, and operates a studio in Asheville, North Carolina.
Ask Me Anything: An “Instaview” with Melissa Weiss
By Melissa Weiss
The clay on my land is very obvious; you can pick up a chunk and make a pinch pot. I dug a bucket of it and took it home, then made a couple test pots and fired them.
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In Memoriam
Paula Colton Winokur (1935–2018)
By Nancy Selvin
Paula Winokur cared. Not just about what she made but about what other people made, too. She cared about humanity, about the future. Paula was at once kind, thoughtful, and knowledgably outspoken.
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In Memoriam
Bunzy Sherman (1923–2017)
By Stuart Kestenbaum
Bunzy took 39 workshops at Haystack—her last one was in 2014, when she was 90. Schools such as Haystack bring together people of varied ages and experiences. Bunzy was an integral part of that mix.
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Jennifer Markmanrud on the wheel at the NHIA, Manchester, New Hampshire. Photograph by Maureen Mills.
The Workshop Experience for Mentor and Mentee
By Maureen Mills, By Jennifer Markmanrud
This past winter a unique opportunity to share the workshop experience with one of my students presented itself through the North Country Studio Workshops (NCSW).
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Amanda Barr, Glass Houses, 2018.
What To Do When Life Figures *You* Out
By Amanda Barr
Seven years of higher education, and it took just one community class to turn it all upside down. I hadn’t figured out life, life had figured me out.
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PDF Product
Education - Vol. 46, No. 2

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