The Studio Potter

The Studio Potter Centered in studio practice, The Studio Potter promotes the discussion of technology, criticism, and history.

The World Is Ending – Let’s Get Weird and HilariousBy WILLIAM J. O’BRIEN .j.obrien Each year for the past fifteen years,...
05/29/2026

The World Is Ending – Let’s Get Weird and Hilarious
By WILLIAM J. O’BRIEN .j.obrien

Each year for the past fifteen years, I’ve taught a class called Getting Weird and Hilarious in the ceramics department at the art school where I work. At first glance, you might think it’s a class for people naturally drawn to the absurd. And in some ways, it is. But what I’ve learned is that pairing improvisation with discipline is what’s required to make great artists, musicians, athletes, or anyone pursuing a dedicated practice. It’s also an essential skill for all of us now. It helps balance difficulty with the lighter skill of humor to offset the darkness.

Although discipline produces results, improvisation, both structured and intuitive, builds the most resilient artists and creates the most compelling work. Most creative practitioners would agree that mastery or great art is never a one-off. It’s the product of structured training that develops skill, and then, when the right moment comes, like a good magician or cook, the ability to improvise produces something greater than the sum of its parts.

As a kid, I was part of a unicycle drill team in Northeast Ohio. That’s a longer story for another essay; however, looking back, it taught me how to train in something both ridiculous and difficult, like balancing on a single wheel, and how true performance comes from relaxation after repetition. It’s similar to when we first learn to drive a car. Every turn signal, stop, and yield requires full attention. But over time, once the body absorbs the training, we can relax, turn on the radio, and still stay on the road. That kind of embodied skill-building comes in handy during crisis. The ability to ground oneself first and then allow improvisation, or intuition, to guide the next move might be one of the most important skills we have.

To read the full article, follow the link in our bio.

In 1977, Studio Potter asked potters the age-old “art vs. craft” question:What is the role of the potter? Is it to be an...
05/26/2026

In 1977, Studio Potter asked potters the age-old “art vs. craft” question:

What is the role of the potter? Is it to be an artist, or to be a maker of functional objects?

Some believed a pot is incomplete unless it is used. Others argued that beauty alone gives it meaning.

Nearly 50 years later, where do you stand? Share your thoughts with us.

*Content on these slides consists of excerpts from texts published in Studio Potter, January 1977, Vol. 5, No. 2

To explore the full conversation and gain a deeper understanding of the diverse perspectives shared by potters of that era, we encourage you to read the complete issue in the Studio Potter archive.

https://studiopotter.org/north-georgia-potters-vol-5-no-2

The archive preserves decades of first-person accounts, technical knowledge, and critical discussions that document the evolving ideas, values, and debates within the ceramics community. If you value this resource, please consider becoming a member or making a donation. Your support helps Studio Potter maintain and expand this living archive, publish new voices, and ensure that the stories, knowledge, and experiences of ceramic artists remain accessible to future generations.

Posted by
On behalf of The Studio Potter



In the 2000, vol. 28 no. 2, issue of Studio Potter Mark Hewitt () wrote Tradition is the Future as his contribution to T...
05/24/2026

In the 2000, vol. 28 no. 2, issue of Studio Potter Mark Hewitt () wrote Tradition is the Future as his contribution to The 1999 International Woodfire Conference held at the University of Iowa.

Mark explained “As an outsider I see things within the tradition that people inside may not, everyone has an individual eye. I remember the first time I saw a large collection of Lincoln County pots in a home in Lincolnton. It was a revelation; beautiful, big, slick, drippy green pots everywhere, looking like magnolia leaves after a summer rain. They were unknown, seductive and powerful. I am still under their spell. But I cannot and do not want to copy them, I can only make my own. I am not making traditionally inspired pots for ideological reasons (forget romantic Orientalism), but for their tangibility, physicality, and presence.

Time changes tradition, outsiders change tradition, insiders change tradition. A word is spoken, an idea transmitted, and the pots go on forever.

Questions about tradition continue to fascinate me. I will close with some provocative talking points introduced at the Iowa Woodfire Conference to stimulate discussion.”

The talking points Mark proposed were Tradition is Radical, Tradition is Individual, Tradition is Expression, Tradition Means Understanding Your Materials, Tradition is Excellent Inexpensive Education, Tradition is Somewhere, Tradition Lasts, Tradition is Change, Tradition is Money, Tradition is a Word, Tradition is Open, Tradition is the Future.”

Read more about these talking points in the Studio Pottery Archives, which is available with your digital subscription to Studio Potter!

Pictured is Mark Hewitt, Vase with Rim Formerly Known as π, Rob Barnard (), Vase, Paul Chaleff (), Jar Form, Chuck Hindes, Shield, Peter Voulkos, Jan McKeachie-Johnston (), Folded Vase.

, , , , , , , , ,

Posted for by .schnabel

Having a Studio of Our Own Speaks VolumesBy CHENOA BAKER .e.baker   "The same year that Pewabic Pottery was founded in D...
05/22/2026

Having a Studio of Our Own Speaks Volumes
By CHENOA BAKER .e.baker

"The same year that Pewabic Pottery was founded in Detroit in 1903, Booker T. Washington gave an address there. It was a place with inequality and de facto segregation. He described the condition of Black residents in Detroit by acknowledging that they “desire simply the opportunity for development,” according to Detroit’s Free Press. This context shows that while Pewabic remains a testament to its progressive founding by a woman during the American Studio Craft (ASC) Movement, strides and setbacks were not mutually exclusive.

"What made this parallel plain was how two exhibits at the Detroit History Museum, this March, stood across from each other: Centerpoint: Mapping Detroit’s Ceramic Legacy, about the origins of Pewabic and Detroit’s clay history and From the Bottom Up: A Love Letter to Black Bottom, which details the federal displacement of Black Bottom as well as its history and community oral history project by descendants, former residents, and Black urban planners. Whether purposeful or not, these exhibitions are in dialogue because they did not occur in a vacuum. This is the historical backdrop for Volumes, the NCECA 60th-anniversary conference, to be held in Detroit, March 25 – 28, 2026."

To read more, follow the link in our bio.

Dear Studio Potter Community,This spring, we asked our board members to reflect on what they love most about Studio Pott...
05/20/2026

Dear Studio Potter Community,

This spring, we asked our board members to reflect on what they love most about Studio Potter. Among their answers, the most common threads were a deep appreciation for our rich history and the journal’s ongoing impact on the clay community.

Our board secretary, Kate Roberts, describes us as "a small but mighty organization determined to build on the legacy of Gerry Williams and continue to bring new voices to light." Hamish Jackson observed that "opening its pages is like visiting an art museum, helping people come away with fresh ideas to bring back to their own practices."

You, as a member of the clay community and a reader of this journal, directly support our ability to celebrate this rich history and serve new generations as an invaluable resource.

Our board members drive Studio Potter’s growth and direction by serving in a variety of volunteer capacities, including accounting, development, social media, and leadership. JoAnn Schnabel, who serves as co-vice president and makes weekly archival posts on social media, notes that when she is looking for what to post, she is "constantly amazed by the wealth of information on all things related to the field of ceramic art from the archives.” Leigh Taylor Mickelson writes, "Today, I have the privilege of serving as board president and working alongside an extraordinary team to help steward Studio Potter through leadership transitions, financial and technological challenges, and an ever-evolving digital landscape, all in service of ceramics and the enduring legacy of this vital platform for clay voices."

We hope you will join our board in both preserving our history and pioneering the future of the platform. In the words of one of our newest board members, Shikha Joshi, "The ceramics community has always been built on generosity, shared knowledge, and collective effort. I hope we can continue that tradition together, just as others did for us before."

Join with our board in keeping Studio Potter strong, please consider making a donation today.

With gratitude,
The Studio Potter board and team

To donate, follow the link in bio.

The 2000, vol. 28 no. 2, issue of Studio Potter begins with Woodfire: The State of the Art The 1999 International Woodfi...
05/17/2026

The 2000, vol. 28 no. 2, issue of Studio Potter begins with Woodfire: The State of the Art The 1999 International Woodfire Conference, ”Different Stokes” with an Introduction by Chuck Hindes. This conference was held September 29 - October 21, 1999, at The University of Iowa, Iowa City, Iowa. Additional writings from the conference in this issue include The Death and Life of Woodfiring in Asia by Louise Allison Cort, Fires of Innocence, Fires of Experience by Jack Troy, Building the Knowledge by Janet Mansfield, A Multidirectional Draft Kiln by Fred Olsen, Flashing: The Color of Fire by Randy Johnston , Tradition is the Future by Mark Hewitt , Checking for Clay by Kim Ellington , The Kiln as Tool by Svend Bayer, Water and Woodfiring by Richard Bresnahan, Burry Box Firing by Dee Buck, A Comprehensive approach to Woodfiring by Jeff Shapiro , Stacking Woodfire kilns by Owen Rye , Stacking for Flashed Color and Scars by Chester Nealie , The Bourry Firebox: An Historical Perspective by Robert Sanderson, A Soft Brick Bourry Box Kiln by Diane Kenny and Peg Malloy, A solitary Approach: Sagger Firing and Gas Assisted Woodfire by Bede Clark , Revival of the snake Kiln in Taiwan by Water Wu, Woodfiring; no gods, Only Poets by Todd Piker, Jewel Creek by Tom Crawford, Guardians of Fire and Clay; The Legacy of China’s Kiln Gods by Martie Geiger-Ho , and Gifts of Fire; Gods, Heroes and Icons by Gerry Williams.

In Fires of Experience by Jack Troy, Jack begins with “Kindling our interest in woodfiring may begin incrementally, like striking a match, looking through a spy-hole 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. Over the years our interest leads us to meet others who share our curiosity and enthusiasm about a genre with world-wide drawing power. People we haven't even met may ultimately help us do the best work we haven't considered making. We are lucky to have access to one another.”

Posted for by .schnabel

Contemporary Californian KizaemonBy MARK HEWITT  .ceramics The very morning I planned to call the maker to celebrate my ...
05/15/2026

Contemporary Californian Kizaemon
By MARK HEWITT .ceramics

The very morning I planned to call the maker to celebrate my choice I received an Instagram message from a friend and fellow wood-firing potter, saying, “I found your choice perplexing, the tumblers lovely, but not exciting,” which prompted me to reach for my dogeared copy of Soetsu Yanagi’s book, “The Unknown Craftsman,” and read the famous passage he wrote about the Kizaemon O-Ido tea bowl.

“For a long time, I wished to see this Kizaemon bowl. I had expected to see that 'essence of Tea,' the seeing eye of Tea masters, and to test my own perception; for it is the embodiment in miniature of beauty, of the love of beauty, of the philosophy of beauty, and of the relationship of beauty and life. It was within box after box, five deep, buried in wool and wrapped in purple silk.

“When I saw it, my heart fell. A good Tea-bowl, yes, but how ordinary! So simple, no more ordinary thing could be imagined. There is not a trace or ornament, not a trace of calculation. It is just a Korean food bowl, a bowl. Moreover, that a poor man would use every day – commonest crockery.

“A typical thing for his use; costing next to nothing; made by a poor man; an article without the flavour of personality; used carelessly by its owner; bought without pride; something anyone could have bought anywhere and everywhere. That’s the nature of this bowl. The clay had been dug from the hill at the back of the house; the glaze was made with the ash from the hearth; the potter’s wheel had been irregular. The shape revealed no particular thought: it was one of many. The work had been fast; the turning was rough, done with dirty hands; the throwing slipshod; the glaze had run over the foot. The throwing room had been dark. The thrower could not read. The kiln was a wretched affair, the firing careless. Sand had stuck to the pot, but nobody minded; no one invested the thing with any dreams. It is enough to make one give up working as a potter." – excerpt from The Unknown Craftsman

To read the full article, follow the link in our bio.

Guess the Potter 👀Explore ceramic history through the Studio Potter Archive — one clue at a time. Can you guess the pott...
05/14/2026

Guess the Potter 👀

Explore ceramic history through the Studio Potter Archive — one clue at a time. Can you guess the potter before the final slide? Tell us in the comments which clue gave it away.

And if you didn’t guess this time, maybe you learned something new about our clay history. We’d love to hear your thoughts.

If you knew this potter personally, or have stories or sweet experiences to share, please tell us those too.

Our Spring Membership Drive is on now. Studio Potter needs your support to continue preserving, sharing, and growing this archive of ceramic history. Donate through the link in bio — and if you’re not already a member, join us to access content like this and help keep this work alive.
Posted by Shikha Joshi on behalf of The Studio Potter.

Guess the Potter 👀Explore ceramic history through the Studio Potter Archive — one clue at a time. A total of 4 clues bef...
05/14/2026

Guess the Potter 👀

Explore ceramic history through the Studio Potter Archive — one clue at a time. A total of 4 clues before the big reveal. Can you guess the potter before the final slide? Tell us in the comments which clue gave it away.

And if you didn’t guess this time, maybe you learned something new about our clay history. We’d love to hear your thoughts.

If you knew this potter personally, or have stories or sweet experiences to share, please tell us those too.

Our Spring Membership Drive is on now. Studio Potter needs your support to continue preserving, sharing, and growing this archive of ceramic history. Donate through the link in bio — and if you’re not already a member, join us to access content like this and help keep this work alive.

Posted by Shikha Joshi on behalf of The Studio Potter

Dear Readers,Help Studio Potter spring into action during this spring's fundraising drive. As a small, volunteer-driven ...
05/13/2026

Dear Readers,

Help Studio Potter spring into action during this spring's fundraising drive. As a small, volunteer-driven team supporting a few paid staff, we need your help to ensure we can continue to offer our programming made for and by the clay community.

Your sustaining donations make it possible for us to continue supporting both established and emerging writers as they document the clay community. Last week, we shared how we've been amplifying diverse voices; this week, we want to share some of the ways we get to share that content. Thanks to your support in the past, our content diversity now includes podcasts, social media archival and contemporary posts, and a digital archive of all our content, including back print issues. Recently, we’ve partnered with the Marks Project to improve our digital archive, making it even easier to read, search, and access archival content. You can help Studio Potter continue to serve as a conduit for chronicling diverse stories, practices, and communities with a donation today.

Your gift helps us continue to be a cornerstone in the clay community, serving as a vital resource for artists, collectors, educators, and historians. Every donation, no matter the size, brings us closer to our goals.

With Gratitude,
The Studio Potter Team

To donate, follow the link in bio.

Address

Northampton, MA
01061

Opening Hours

Monday 8am - 4pm
Tuesday 8am - 5pm
Wednesday 8am - 5pm
Thursday 8am - 5pm
Friday 8am - 5pm

Alerts

Be the first to know and let us send you an email when The Studio Potter posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.

Contact The Organization

Send a message to The Studio Potter:

Share