Jack Troy | Studio Potter

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Author Profile

Jack Troy

Jack Troy is a potter, writer, and educator. Troy taught at Juniata College for thirty-nine years and has led hundreds of workshops across the country and around the world. He has published two books, Wood Fired Stoneware and Porcelain, Salt Glazed Ceramics, and two books that are a collection of poems, Calling the Planet Home and Giving It Up To the Wind. Jack has written many essays and articles for major publications in the field, including Inscapes, a privately printed tribute to David Shaner. He has been recognized by the National Council on Education for the Ceramic Arts and the Pennsylvania Council on the Arts.

Articles

Sources of Sodium as Vapor Glaze

Object and Image

Delivering Color

Every potter's Christmas stocking should at some point contain a Coddington magnifier, for the same reason that bird-watchers use binoculars: until we see ceramic surfaces or migrating hawks through magnification, we can't imagine how much we're missing

The Secret Life of Pots

Woodfring: Learning From the Past

Bernard Leach: An Earnest Presence

Fires of Innocence, Fires of Experience

Sharing the Fire: Woodfiring Among North American Studio Potters

A short poem by Jack Troy.

The Sculpture of Life Forms at Juniata College

Pennsylvania Passages: Part One: Jack Troy

The Most Valuable Clay in the World

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!”

Janet Koplos What Makes a Potter

Jack Troy reviews Janet Koplos's new text, What Makes a Potter: Functional Pottery in America Today, featuring fifty interviews with contemporary potters.

Pages from Commeraw’s Stoneware – The Life and Work of the First African-American Pottery Owner, By Brandt Zipp.

Book Review: Commeraw’s Stoneware – The Life and Work of the First African-American Pottery Owner

This cinematic volume will be steep reading terrain for all but the most empathetic, relentlessly inquisitive seekers of pottery forensics. Lacking such scholarship, crocks and jugs sit mute – defying us to imagine their origins: that synapse between touch and its evidence. To date, we have no comparable documentation of a single potter’s life.

David Shaner, Shaner's Canyon, Shaner's red glaze, 1998. Photograph by Ann Shaner

David Shaner Remembered

If Shaner has an agenda, it is authenticated in the materials he works with, rather than existing apart from them, as doctrine, myth, or abstraction. At the same time, he supports environmental, peace, and human rights issues with the same passionate dedication he brings to the studio. Compassion and empathy, said to be important components in the making of strong functional pots, are equally active in Shaner's sense of himself as a family member and global citizen.

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