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Friday, July 31, 2009

Heat-Part 3-Hunkka, Hunkka, Burning Love.

    Read Part One and Part Two

    To all the new readers. This is a series that I have started on our (ceramists) relationship with heat. I am an artist, who works as a ceramic engineer and teach materials here At Alfred University. So I have a particular perspective on our relationship with heat. It has always seemed to me that artists do not have firm grip on what is going on when we fire a kiln, so this series is an attempt to explain things better. I hope you find it informative.

    Where we left off was the development of heat and the kiln. The kiln was important because people discovered that the hotter the firing, the more durable the work. We take durability for granted in a world of plastic and mass production. But, back then, you had one plate and one cup. So It was important that they lasted.

    Eventually the Europeans figured out how to work with stoneware and salt firing, creating kilns that could reach higher temperatures. Which was good, and durable, but it was not pretty. I know that some people will jump us and say that this is beautiful ware. I would argue that it is interesting, but the fact is, this was ware that was made to be purely functional. Wasting time on aesthetics wasted production time. Loss of production time, means reduced profits.

    Around this time trading with Asia began, and everything changed. China, to be blunt, was awesome. China had discovered Porcelain, and it was good. Porcelain is pure, white, sensitive and pretty. All of that is important for objects to be considered "beautiful" by the upper class. I don't want to go too into depth about the value of whiteness and the desirability of that (Michael Jackson, anyone). To emphasize the importance of Whiteness, I present you a dramatic reading from Monty Python and the Holy Grail.

    "How do you know he is a King?"
    "He hasn't got shit all over him."

    Simple as that. The world people occupied was inherently dirty. Whiteness represented a life that was superior to the the unwashed masses. But there was a catch, Europeans could not make this lovely, white, delicate, translucent material. Only the Chinese could. This was a problem. Europeans had to import Porcelain, and they did, in massive quantities. The called it white gold.

    What the Chinese had figured out was two things. One, they had discovered Kaolin and chemistry. Kaolin, the pure white clay which is the basis for all clays, was found at Gaoling Mountain, outside Jingdezhen. The second is that they had invented kilns that were able to achieve the (at the time) incredible temperatures. The real secret to building heat is not so much the generation if heat, as much as it is the retention of the heat that you have already created. As I stated before, a kiln is not a heat building device, so much as a heat retention device.

    Anyone who has every fired a modern barrel Kiln, you will know, there units are often stated to be "Cone 10" rated. Yest it is exceptionally difficult to achieve that temperature. it is not the faults of the elements. It is the fact that the kiln only has a couple of inches of refractory. So the heat that is built, just radiates out through the wall.

    So, the Chinese had figured all this out. Chemistry and Heat. But why are these high temperatures necessary? For that we must return to the Bunsen Burner. As we discussed before, in Chemistry class we used the Bunsen Burner to induce a chemical reaction. The application of heat, applies energy to the system that induces the materials to interact and form new species.

    So what does all this heat get us? It is pretty simple, we use heat to change Clay, Feldspar and Quartz into Mullite and Glass.

    Clay systems are pretty simple. They seem complicated because we look at a lot of different materials (Clay, Feldspar, Quartz and Fillers) It gets even worse because we have lots of Brand names on top of that (Custer, G-200, EPK, Grolleg) the list goes on and on. It gets even worse. This morning I was talking with an Engineering student, and I had to explain to him that Quartz, Flint, and Silica were all the same thing. Ugh.

    But I don't want to get you confused (I'll save that for later). And Chemistry is for another day. What I want to talk about is what happens in a firing. I will go into the subtleties of a firing in my next post, but here I want to talk about what happens in a high temperature firing. That is the formation of Mullite and Glass.

    Think of Mullite and Glass, as Skeleton and Muscles. Mullite is the skeleton of clay and Glass is the muscles. They need each other to function, even though they are different things. One without the other is useless. Glass makes clay, hard and durable. Mullite allows for the glass to keep it's shape in the kiln.

    Anyone who has seen glass blowing, knows that molten glass flows. If left to its own devices molten glass will puddle. That is why glass blowing is so difficult, you are trying to fight against the nature of the material to puddle. You are fighting gravity and chemistry.

    Why Mullite is so awesome is that it helps the molten glass keep its shape.

    Next time. What is going on in my kiln? (and why Quartz Inversion doesn't matter).

Post Title

Heat-Part 3-Hunkka, Hunkka, Burning Love.


Post URL

http://www.photossexybodypainting.ml/2009/07/heat-part-3-hunkka-hunkka-burning-love_31.html


Visit photos posing sexy body painting for Daily Updated Wedding Dresses Collection

Heat-Part 3-Hunkka, Hunkka, Burning Love.

    Read Part One and Part Two

    To all the new readers. This is a series that I have started on our (ceramists) relationship with heat. I am an artist, who works as a ceramic engineer and teach materials here At Alfred University. So I have a particular perspective on our relationship with heat. It has always seemed to me that artists do not have firm grip on what is going on when we fire a kiln, so this series is an attempt to explain things better. I hope you find it informative.

    Where we left off was the development of heat and the kiln. The kiln was important because people discovered that the hotter the firing, the more durable the work. We take durability for granted in a world of plastic and mass production. But, back then, you had one plate and one cup. So It was important that they lasted.

    Eventually the Europeans figured out how to work with stoneware and salt firing, creating kilns that could reach higher temperatures. Which was good, and durable, but it was not pretty. I know that some people will jump us and say that this is beautiful ware. I would argue that it is interesting, but the fact is, this was ware that was made to be purely functional. Wasting time on aesthetics wasted production time. Loss of production time, means reduced profits.

    Around this time trading with Asia began, and everything changed. China, to be blunt, was awesome. China had discovered Porcelain, and it was good. Porcelain is pure, white, sensitive and pretty. All of that is important for objects to be considered "beautiful" by the upper class. I don't want to go too into depth about the value of whiteness and the desirability of that (Michael Jackson, anyone). To emphasize the importance of Whiteness, I present you a dramatic reading from Monty Python and the Holy Grail.

    "How do you know he is a King?"
    "He hasn't got shit all over him."

    Simple as that. The world people occupied was inherently dirty. Whiteness represented a life that was superior to the the unwashed masses. But there was a catch, Europeans could not make this lovely, white, delicate, translucent material. Only the Chinese could. This was a problem. Europeans had to import Porcelain, and they did, in massive quantities. The called it white gold.

    What the Chinese had figured out was two things. One, they had discovered Kaolin and chemistry. Kaolin, the pure white clay which is the basis for all clays, was found at Gaoling Mountain, outside Jingdezhen. The second is that they had invented kilns that were able to achieve the (at the time) incredible temperatures. The real secret to building heat is not so much the generation if heat, as much as it is the retention of the heat that you have already created. As I stated before, a kiln is not a heat building device, so much as a heat retention device.

    Anyone who has every fired a modern barrel Kiln, you will know, there units are often stated to be "Cone 10" rated. Yest it is exceptionally difficult to achieve that temperature. it is not the faults of the elements. It is the fact that the kiln only has a couple of inches of refractory. So the heat that is built, just radiates out through the wall.

    So, the Chinese had figured all this out. Chemistry and Heat. But why are these high temperatures necessary? For that we must return to the Bunsen Burner. As we discussed before, in Chemistry class we used the Bunsen Burner to induce a chemical reaction. The application of heat, applies energy to the system that induces the materials to interact and form new species.

    So what does all this heat get us? It is pretty simple, we use heat to change Clay, Feldspar and Quartz into Mullite and Glass.

    Clay systems are pretty simple. They seem complicated because we look at a lot of different materials (Clay, Feldspar, Quartz and Fillers) It gets even worse because we have lots of Brand names on top of that (Custer, G-200, EPK, Grolleg) the list goes on and on. It gets even worse. This morning I was talking with an Engineering student, and I had to explain to him that Quartz, Flint, and Silica were all the same thing. Ugh.

    But I don't want to get you confused (I'll save that for later). And Chemistry is for another day. What I want to talk about is what happens in a firing. I will go into the subtleties of a firing in my next post, but here I want to talk about what happens in a high temperature firing. That is the formation of Mullite and Glass.

    Think of Mullite and Glass, as Skeleton and Muscles. Mullite is the skeleton of clay and Glass is the muscles. They need each other to function, even though they are different things. One without the other is useless. Glass makes clay, hard and durable. Mullite allows for the glass to keep it's shape in the kiln.

    Anyone who has seen glass blowing, knows that molten glass flows. If left to its own devices molten glass will puddle. That is why glass blowing is so difficult, you are trying to fight against the nature of the material to puddle. You are fighting gravity and chemistry.

    Why Mullite is so awesome is that it helps the molten glass keep its shape.

    Next time. What is going on in my kiln? (and why Quartz Inversion doesn't matter).

Post Title

Heat-Part 3-Hunkka, Hunkka, Burning Love.


Post URL

http://www.photossexybodypainting.ml/2009/07/heat-part-3-hunkka-hunkka-burning-love.html


Visit photos posing sexy body painting for Daily Updated Wedding Dresses Collection
Thursday, July 30, 2009

Making History

    Ayumi Horie shared this piece by Julia Galloway about teaching a ceramics as history class at NSCD.

    Great Piece.

    The AmericasSome years ago I had a dream about walking through the history of ceramics. I wanted to stand in a room and see how pottery changes over the years, through different countries, and see the influences of trade and natural resources. I wanted to see whole in front of me what I understood in bits and pieces. Hence, the "Making History" course was born. I decided to teach a class where students would make historical pottery; they would research the building techniques, clays and glazes of iconographic pottery from all over the world. They would make these objects to understand, to learn how to see, and to learn how to make. I wanted the students to work on something outside of themselves; work not based on their own self-expression or ego, but based simply on learning through making and through researching, and on the sheer pleasure of re-discovering things that have come before. This study would culminate in a large-scale exhibition of all of these objects, arranged within a timeline and within geographical relationships.

    I have taught at the Nova Scotia College of Art and Design twice before and I know that NSCAD students are extremely talented, thoughtful, ambitious and always up for working hard. In addition, when I was a student, Professor Walter Ostrom helped me understand the importance and profound influence that the history of ceramics has on our understanding of clay today. Teaching this course at NSCAD is a way of paying homage to Walter Ostrom's great dedication to his students and the study of historical ceramics.

    The Americas








































    Read the rest of the story at Julia's Site.




Post Title

Making History


Post URL

http://www.photossexybodypainting.ml/2009/07/making-history_30.html


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Making History

    Ayumi Horie shared this piece by Julia Galloway about teaching a ceramics as history class at NSCD.

    Great Piece.

    The AmericasSome years ago I had a dream about walking through the history of ceramics. I wanted to stand in a room and see how pottery changes over the years, through different countries, and see the influences of trade and natural resources. I wanted to see whole in front of me what I understood in bits and pieces. Hence, the "Making History" course was born. I decided to teach a class where students would make historical pottery; they would research the building techniques, clays and glazes of iconographic pottery from all over the world. They would make these objects to understand, to learn how to see, and to learn how to make. I wanted the students to work on something outside of themselves; work not based on their own self-expression or ego, but based simply on learning through making and through researching, and on the sheer pleasure of re-discovering things that have come before. This study would culminate in a large-scale exhibition of all of these objects, arranged within a timeline and within geographical relationships.

    I have taught at the Nova Scotia College of Art and Design twice before and I know that NSCAD students are extremely talented, thoughtful, ambitious and always up for working hard. In addition, when I was a student, Professor Walter Ostrom helped me understand the importance and profound influence that the history of ceramics has on our understanding of clay today. Teaching this course at NSCAD is a way of paying homage to Walter Ostrom's great dedication to his students and the study of historical ceramics.

    The Americas








































    Read the rest of the story at Julia's Site.




Post Title

Making History


Post URL

http://www.photossexybodypainting.ml/2009/07/making-history.html


Visit photos posing sexy body painting for Daily Updated Wedding Dresses Collection

Recycling Again

    Old postcard, coated with gesso, hand drawn boarder, gel transfer of women on the beach. Before I added the gel transfer to the card I wrote a message that shows through underneath, since this card had never been mailed.

    Another old postcard, coated with thinned gesso so that the original message, stamp and postmark shows. The heart was cut from an old dictionary page I had stamped with a pattern. I added a blue butterfly.

    Another experiment with a gel transfer. This time I scanned an old postcard, altered the colored to age it, then made the transfer from the scanned image. I used gesso on the card, allowing some writing and the stamp and cancellation to show. Then I added a strip of dictionary page, then the gel transfer. I finally used a date stamp and the letters SWAK.

    I hate wasting things, and am fascinated by old paper ephemera. It has been drizzly and cool here, so yesterday I played with a stack of very mundane postcards (Motel 6, for example) , seeing how I could change them, use some of the stacks and drawers of images and materials I have acquired.

    What do you think? What appeals or falls short? I'd love feedback on this project. Would people buy them? Would demoonstrating the process make an interesting workshop?

    I have also simply coated cards with gesso, thinking I'd try little watercolors on our upcoming trip to Colorado. Maybe I should try one ahead of time...

Post Title

Recycling Again


Post URL

http://www.photossexybodypainting.ml/2009/07/recycling-again.html


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She's a, Brick House! (research facility)

    Clemson brick center serves as industry’s CSI lab
    Jim Frederic, the associate director of the Bishop Ceramic Laboratory, says he installed old kiln burners at the facility so students can see how it operates before they enter the industry.

    Photo by Sefton Ipock

    Jim Frederic, the associate director of the Bishop Ceramic Laboratory, says he installed old kiln burners at the facility so students can see how it operates before they enter the industry.

    Greg Bellotte moves a cart of bricks inside a testing area at the Bishop Ceramic Laboratory.

    Photo by Sefton Ipock

    Greg Bellotte moves a cart of bricks inside a testing area at the Bishop Ceramic Laboratory.

    — If there were a “CSI” for bricks, this would have to be their lab.

    It’s the National Brick Research Center in north Anderson County at the Clemson Research Park.

    In the popular TV series, investigators leave no stone unturned, pardon the pun, in search of evidence in a crime.

    While there’s no crime to solve at the brick center, a lot of stones are turned in search of answers for brick makers, ceramics manufacturers and related industries.

    Researchers crush, heat, freeze, drown and squeeze brick material to learn how it is affected.

    The result of their work is given back to industry, which uses it to make better bricks, to architects, who use it to design structures, or to government agencies, who need restoration ideas.

    The brick center is a component of Clemson University, but is overseen by a board from the Brick Industry Association. The building opened at the research park in 1996. Dues from the association and fees for research support the 12-person operation. Next door is the Tile Council of America, which shares some research and office space with the brick researchers.

    Jim Frederic, associate director of the brick center, said its mission is three-fold: research projects for the industry, service work for individual companies, and education, for industry and Clemson materials science and engineering students.

    “We hold a lot of seminars for people associated with the brick industry,” he said.

    Those could be technical training for brick makers, to inform them of new processes, or with architects, to tell them of changes in the materials, or with other related industries, he said.

    Testing may be for durability, strength or water absorption levels of brick material. Or it may be environmental in nature — helping a company make bricks or ceramics more efficiently, thus saving energy, or determining if materials can be dumped under more stringent landfill regulations.

    “A lot of waste materials are now used in brick manufacturing,” Frederic said. “We are working with all these plants on questions of what can they use, what causes problems, what are green products.”

    The process of making brick has changed, but the fundamentals could be considered similar to that of the ancients: You mix a batch of clay (or like material), add ingredients for strength, color, and more, then bake it in a kiln for a day or a few hours.

    That process mostly has become automated and expensive, Frederic said. In the past, bricks were made in small batches in coal-heated kilns, but today a brick maker may run 100,000 bricks a day in a fully automated natural gas-heated kiln that requires only a night watchman to check on it. If a brick maker has to shut down a kiln today, it becomes expensive.

    So many will ask the research center to test materials to determine how they can be made, or what changes should be included in a formula. That way, they can run the kilns without shutting them down and incorporate the change into their operations, Frederic said.

    While the less-glamorous side of brick and ceramics testing is the main focus, the center has begun working more with government agencies to test materials of older structures, said DenisBrosnan, director.

    In his office are Fort Sumter wall materials, which the center is testing to help the National Parks Service decide how to replace eroding brick and mortar. It is one area where the center is attempting to broaden its services — and add revenues, he said.

    “Our role is to provide materials analysis to help them come up with an analysis” of the structures’ conditions, he said. “We are trying to do more than testing, but look at what is causing wear and tear on a building.”

    The center also has provided public service work, meaning free analysis. It examined materials from an old Pickens church and more recently analyzed brick used from an Anderson church that burned.

    Via: Independent Mail


    This place sounds a lot like what my research group does up here in Alfred, for the whitewares industry.

Post Title

She's a, Brick House! (research facility)


Post URL

http://www.photossexybodypainting.ml/2009/07/she-brick-house-research-facility_30.html


Visit photos posing sexy body painting for Daily Updated Wedding Dresses Collection

She's a, Brick House! (research facility)

    Clemson brick center serves as industry’s CSI lab
    Jim Frederic, the associate director of the Bishop Ceramic Laboratory, says he installed old kiln burners at the facility so students can see how it operates before they enter the industry.

    Photo by Sefton Ipock

    Jim Frederic, the associate director of the Bishop Ceramic Laboratory, says he installed old kiln burners at the facility so students can see how it operates before they enter the industry.

    Greg Bellotte moves a cart of bricks inside a testing area at the Bishop Ceramic Laboratory.

    Photo by Sefton Ipock

    Greg Bellotte moves a cart of bricks inside a testing area at the Bishop Ceramic Laboratory.

    — If there were a “CSI” for bricks, this would have to be their lab.

    It’s the National Brick Research Center in north Anderson County at the Clemson Research Park.

    In the popular TV series, investigators leave no stone unturned, pardon the pun, in search of evidence in a crime.

    While there’s no crime to solve at the brick center, a lot of stones are turned in search of answers for brick makers, ceramics manufacturers and related industries.

    Researchers crush, heat, freeze, drown and squeeze brick material to learn how it is affected.

    The result of their work is given back to industry, which uses it to make better bricks, to architects, who use it to design structures, or to government agencies, who need restoration ideas.

    The brick center is a component of Clemson University, but is overseen by a board from the Brick Industry Association. The building opened at the research park in 1996. Dues from the association and fees for research support the 12-person operation. Next door is the Tile Council of America, which shares some research and office space with the brick researchers.

    Jim Frederic, associate director of the brick center, said its mission is three-fold: research projects for the industry, service work for individual companies, and education, for industry and Clemson materials science and engineering students.

    “We hold a lot of seminars for people associated with the brick industry,” he said.

    Those could be technical training for brick makers, to inform them of new processes, or with architects, to tell them of changes in the materials, or with other related industries, he said.

    Testing may be for durability, strength or water absorption levels of brick material. Or it may be environmental in nature — helping a company make bricks or ceramics more efficiently, thus saving energy, or determining if materials can be dumped under more stringent landfill regulations.

    “A lot of waste materials are now used in brick manufacturing,” Frederic said. “We are working with all these plants on questions of what can they use, what causes problems, what are green products.”

    The process of making brick has changed, but the fundamentals could be considered similar to that of the ancients: You mix a batch of clay (or like material), add ingredients for strength, color, and more, then bake it in a kiln for a day or a few hours.

    That process mostly has become automated and expensive, Frederic said. In the past, bricks were made in small batches in coal-heated kilns, but today a brick maker may run 100,000 bricks a day in a fully automated natural gas-heated kiln that requires only a night watchman to check on it. If a brick maker has to shut down a kiln today, it becomes expensive.

    So many will ask the research center to test materials to determine how they can be made, or what changes should be included in a formula. That way, they can run the kilns without shutting them down and incorporate the change into their operations, Frederic said.

    While the less-glamorous side of brick and ceramics testing is the main focus, the center has begun working more with government agencies to test materials of older structures, said DenisBrosnan, director.

    In his office are Fort Sumter wall materials, which the center is testing to help the National Parks Service decide how to replace eroding brick and mortar. It is one area where the center is attempting to broaden its services — and add revenues, he said.

    “Our role is to provide materials analysis to help them come up with an analysis” of the structures’ conditions, he said. “We are trying to do more than testing, but look at what is causing wear and tear on a building.”

    The center also has provided public service work, meaning free analysis. It examined materials from an old Pickens church and more recently analyzed brick used from an Anderson church that burned.

    Via: Independent Mail


    This place sounds a lot like what my research group does up here in Alfred, for the whitewares industry.

Post Title

She's a, Brick House! (research facility)


Post URL

http://www.photossexybodypainting.ml/2009/07/she-brick-house-research-facility.html


Visit photos posing sexy body painting for Daily Updated Wedding Dresses Collection

Socialist Party

Post Title

Socialist Party


Post URL

http://www.photossexybodypainting.ml/2009/07/socialist-party_30.html


Visit photos posing sexy body painting for Daily Updated Wedding Dresses Collection

Socialist Party

Post Title

Socialist Party


Post URL

http://www.photossexybodypainting.ml/2009/07/socialist-party.html


Visit photos posing sexy body painting for Daily Updated Wedding Dresses Collection
Wednesday, July 29, 2009

Urning your Keep

    Here lies the Personal Urn.
    Where you rest after being burn(ed).
    If I should die, before I wake.
    I pray to God, my dignity, do not take.


    I really don't know what to say about this. When I first came across this last night, I spent 20 minutes trying to find where in the documentation was a note that this is from the Onion. Best I can tell, it is really real.

    "New advances in facial reconstruction and 3D printing have made it possible to have an urn made in the image of anyone from just a photograph.

    Never forget a face. Personal Urns combine art and technology to create a family heirloom that will be cherished for generations."

    Now yes, this is not clay. At least I assume it is not. There is nothing in the documentation about material. But it is a vessel and it is an object that is traditionally ceramic. So I am going with it anyway.

    For $2600, you can have your own version of this family "Heirloom"

    *Update-I'm leaning toward fake again, as while looking through the company's website it says.

    "Personal urns custom made in your likeness or your favorite celebraty"

    That kind of misspelling is Par for the course here at Slipcast blog, but I can't believe that a real business would let that slip.

    Anyhoo, here is the link for the company

    *Update 2* someone at Consumerist realized that these are from Thatsmyface.com, marked up 300%

Post Title

Urning your Keep


Post URL

http://www.photossexybodypainting.ml/2009/07/urning-your-keep_29.html


Visit photos posing sexy body painting for Daily Updated Wedding Dresses Collection

Urning your Keep

    Here lies the Personal Urn.
    Where you rest after being burn(ed).
    If I should die, before I wake.
    I pray to God, my dignity, do not take.


    I really don't know what to say about this. When I first came across this last night, I spent 20 minutes trying to find where in the documentation was a note that this is from the Onion. Best I can tell, it is really real.

    "New advances in facial reconstruction and 3D printing have made it possible to have an urn made in the image of anyone from just a photograph.

    Never forget a face. Personal Urns combine art and technology to create a family heirloom that will be cherished for generations."

    Now yes, this is not clay. At least I assume it is not. There is nothing in the documentation about material. But it is a vessel and it is an object that is traditionally ceramic. So I am going with it anyway.

    For $2600, you can have your own version of this family "Heirloom"

    *Update-I'm leaning toward fake again, as while looking through the company's website it says.

    "Personal urns custom made in your likeness or your favorite celebraty"

    That kind of misspelling is Par for the course here at Slipcast blog, but I can't believe that a real business would let that slip.

    Anyhoo, here is the link for the company

    *Update 2* someone at Consumerist realized that these are from Thatsmyface.com, marked up 300%

Post Title

Urning your Keep


Post URL

http://www.photossexybodypainting.ml/2009/07/urning-your-keep.html


Visit photos posing sexy body painting for Daily Updated Wedding Dresses Collection

Begun these Pottery Wars have...


    Pottery War Prompts Request for State Audit


    BY JOHN CHAPPELL: STAFF WRITER

    The pottery war may be heating up.

    Linda A. Carlisle, secretary of the state Department of Cultural Resources (DCR), is asking the state auditor to check out complaints about the N.C. Pottery Center in Seagrove and has abandoned a state plan to take over its operation.

    "Recent allegations about the department and its staff have been made by Mr. Phil Morgan and Mr. Don Hudson," Carlisle said in a June 26 letter. "Some of their e-mails have been widely circulated to you, to the community, press and elected officials. I take this situation very seriously, including the damage done to the reputation of staff and of the department."

    Hudson, whose shop is in Sanford, has been heavily involved in the annual Sanford Pottery Festival, while Morgan has supported the long-running Seagrove Pottery Festival. It has been supporting another pottery center called The N.C. Museum of Traditional Pottery.

    A number of potters who actually live and work up and down the areas along N.C. 705 -- designated by the state as "The Pottery Highway" -- organized as the Celebration of Seagrove Potters. They say they want to protect the name "Seagrove" as referring to potters in that area. They staged their own festival in April. Their next festival runs Nov. 20-22.

    Hudson calls this competition "an exercise of raw political power" and an attempt to take the annual festival.

    "Proof is available from DCR's own files that the department was complicit in the attempt to steal the Seagrove Pottery Festival and give it to the (N.C. Pottery) Center," Hudson said in an e-mail to The Pilot. "When this was exposed, DCR went nasty on Phil and me. Lies were told, to media, to legislators and to investigators."

    At the present time, the N.C. Pottery Center (NCPC) is operated by volunteers on its Board of Directors, according to the board president, Dr. Linda Carnes-McNaughton.

    "The center has been criticized by Seagrove potter Phil Morgan and Sanford potter Don Hudson," the board said in a prepared statement furnished by Carnes-McNaughton. "Their complaints have resulted in a request by Linda Carlisle, secretary of ­cultural resources, for the state auditor to review and address the allegations of Morgan and Hudson. The center is confident that the allegations will be shown to be baseless, and will cooperate with the review of the state auditor if requested to do so."

    Last year, following an anonymous request from a legislator, an audit by the state auditor's office gave the center "a resounding clean bill of health," the statement said, adding " this fact was not mentioned in the allegations."

    Hudson has been searching public records for evidence he maintains is proof of his accusation of "an abusive attempt to use political power to steal the Seagrove Pottery Festival and give it to the center because the center wanted the proceeds for itself, and the state and the ­county wanted the center to have it "

    He and Morgan say they have thousands of pages they received from the DCR that support their contention, but insist they don't oppose a state-run center in principle.

    "Phil and I went to Raleigh to talk with DCR in March 2008," Hudson said. "We said we would support a state takeover of the center if it were, in fact, a real state takeover and not some sort of partnership between the state and those who had already driven the Pottery Center into a ditch that would allow them to remain in control while the state picked up all the expenses."

    At present, Carlisle is backing away from a takeover of the N.C. Pottery Center by DCR.

    "As you may know, the department had contemplated bringing the N.C. Pottery Center under its administration, to expand the state's folklife resources," Carlisle said in a letter to the center's board, which was also sent to members of the Seagrove community, arts programs and potters. "For a variety of reasons, including budget constraints and dissension by some potters in the Seagrove area, we elected to withdraw this initiative."

    The NCPC has been audited on an annual basis, because it has to have spotless books and records to receive funding from grants and other sources, according to Carnes-McNaughton.

    "We have to produce those documents to apply for grants," she said. "Our books are clear as water. Our purpose is to promote pottery throughout the state. The NCPC was audited last year by the state auditor Les Merritt and the results, made public, were that we have a clean bill of health."

    As the center is a functioning nonprofit museum, it is normal practice for its board to apply for grants to augment its programs, events, exhibition and some operating costs, she said.

    "We do this on a regular basis and have done so for 10 years of our operations," Carnes-McNaughton said in an e-mail to The Pilot on Thursday. "We have applied for and received grants from appropriate national, state, and county governmental agencies, as well as private foundations and corporations.

    "Therefore, we are required to maintain accurate, up-to-date, financial records at all times. These records are also part of future grant applications as proof of normal operations and successful enterprises."

    Hudson said he is happy about the audit.

    "Phil Morgan and I tried repeatedly for most of this year to get Secretary Carlisle to order an investigation and gave her plenty of reasons to do so," he said.


    Link to original story.

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Begun these Pottery Wars have...


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Begun these Pottery Wars have...


    Pottery War Prompts Request for State Audit


    BY JOHN CHAPPELL: STAFF WRITER

    The pottery war may be heating up.

    Linda A. Carlisle, secretary of the state Department of Cultural Resources (DCR), is asking the state auditor to check out complaints about the N.C. Pottery Center in Seagrove and has abandoned a state plan to take over its operation.

    "Recent allegations about the department and its staff have been made by Mr. Phil Morgan and Mr. Don Hudson," Carlisle said in a June 26 letter. "Some of their e-mails have been widely circulated to you, to the community, press and elected officials. I take this situation very seriously, including the damage done to the reputation of staff and of the department."

    Hudson, whose shop is in Sanford, has been heavily involved in the annual Sanford Pottery Festival, while Morgan has supported the long-running Seagrove Pottery Festival. It has been supporting another pottery center called The N.C. Museum of Traditional Pottery.

    A number of potters who actually live and work up and down the areas along N.C. 705 -- designated by the state as "The Pottery Highway" -- organized as the Celebration of Seagrove Potters. They say they want to protect the name "Seagrove" as referring to potters in that area. They staged their own festival in April. Their next festival runs Nov. 20-22.

    Hudson calls this competition "an exercise of raw political power" and an attempt to take the annual festival.

    "Proof is available from DCR's own files that the department was complicit in the attempt to steal the Seagrove Pottery Festival and give it to the (N.C. Pottery) Center," Hudson said in an e-mail to The Pilot. "When this was exposed, DCR went nasty on Phil and me. Lies were told, to media, to legislators and to investigators."

    At the present time, the N.C. Pottery Center (NCPC) is operated by volunteers on its Board of Directors, according to the board president, Dr. Linda Carnes-McNaughton.

    "The center has been criticized by Seagrove potter Phil Morgan and Sanford potter Don Hudson," the board said in a prepared statement furnished by Carnes-McNaughton. "Their complaints have resulted in a request by Linda Carlisle, secretary of ­cultural resources, for the state auditor to review and address the allegations of Morgan and Hudson. The center is confident that the allegations will be shown to be baseless, and will cooperate with the review of the state auditor if requested to do so."

    Last year, following an anonymous request from a legislator, an audit by the state auditor's office gave the center "a resounding clean bill of health," the statement said, adding " this fact was not mentioned in the allegations."

    Hudson has been searching public records for evidence he maintains is proof of his accusation of "an abusive attempt to use political power to steal the Seagrove Pottery Festival and give it to the center because the center wanted the proceeds for itself, and the state and the ­county wanted the center to have it "

    He and Morgan say they have thousands of pages they received from the DCR that support their contention, but insist they don't oppose a state-run center in principle.

    "Phil and I went to Raleigh to talk with DCR in March 2008," Hudson said. "We said we would support a state takeover of the center if it were, in fact, a real state takeover and not some sort of partnership between the state and those who had already driven the Pottery Center into a ditch that would allow them to remain in control while the state picked up all the expenses."

    At present, Carlisle is backing away from a takeover of the N.C. Pottery Center by DCR.

    "As you may know, the department had contemplated bringing the N.C. Pottery Center under its administration, to expand the state's folklife resources," Carlisle said in a letter to the center's board, which was also sent to members of the Seagrove community, arts programs and potters. "For a variety of reasons, including budget constraints and dissension by some potters in the Seagrove area, we elected to withdraw this initiative."

    The NCPC has been audited on an annual basis, because it has to have spotless books and records to receive funding from grants and other sources, according to Carnes-McNaughton.

    "We have to produce those documents to apply for grants," she said. "Our books are clear as water. Our purpose is to promote pottery throughout the state. The NCPC was audited last year by the state auditor Les Merritt and the results, made public, were that we have a clean bill of health."

    As the center is a functioning nonprofit museum, it is normal practice for its board to apply for grants to augment its programs, events, exhibition and some operating costs, she said.

    "We do this on a regular basis and have done so for 10 years of our operations," Carnes-McNaughton said in an e-mail to The Pilot on Thursday. "We have applied for and received grants from appropriate national, state, and county governmental agencies, as well as private foundations and corporations.

    "Therefore, we are required to maintain accurate, up-to-date, financial records at all times. These records are also part of future grant applications as proof of normal operations and successful enterprises."

    Hudson said he is happy about the audit.

    "Phil Morgan and I tried repeatedly for most of this year to get Secretary Carlisle to order an investigation and gave her plenty of reasons to do so," he said.


    Link to original story.

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Last Figure Drawing for the Summer

    Janesville artists are represented at the Sweet Spot Coffe Shoppe in Whitewater, Wisconsin. The building was formerly an old hotel, which had become decrepit. But the owners renovated it, and now the building houses this popular place to eat, drink, meet and view local artwork.

    This is a group show. My contributions were the red and white striped candy and the two small portraits of little girls.

    I think the ochre colored walls are inviting, and make a nice background for these shows, which change monthly. I wonder how many paintings ever sell in places like this? I'm sure it benefits the coffee shop, which always has changing art on the walls, and must draw in some people. I was lucky that a Whitewater friend took my work over to be hung, since I was otherwise engaged the day the show was hung. It was a lot of work for her to transport and hang the art. I hope she at least sold something. I've had art in lots of shows in galleries and in places like this, but I've sold little. The question is always, why? Is it that people don't come to coffee houses to buy art, but rather to drink coffee? Is it the fact I show mostly watercolors, and that medium is seen as less desirable than paintings that aren't framed under glass? Is it the tight economy? Or is it that the art is pleasant but not good enough to compel people to purchase it. Maybe it's a combination of these factors.

    The figure drawing class I took in Madison ends next week, but we're leaving for Colorado on Sunday, so this was my last class. All the poses were fairly short this time, none over twenty minutes. If I'd had more time I probably could have built in more contrast here. There were two other poses with props. In one the model sat on a car tire, and in the other she sat in a wooden school chair with a desktop. I learned that these extras distracted me from what I was really interested in, which was drawing the model accurately and creating a good composition. I found trying to get the perspective and shape of a student desk to be very trying, so I concentrated on the shape of her body. I'm not posting the results, which are at best humbling.

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Last Figure Drawing for the Summer


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Phở -A long,long way to run.


    Noodle dishes make me happy. Whether, Chinese, Italllian, or anything in between.
    When Mrs. Rose and I head to a city, I always make it a point to get some noodles, as it is something that we don't have around here. Lanzhou Lamian has been my got to for a while. But, my obsession over the last few years has been Pho.


    If you are not familiar with Pho (Click here for a pronunciation), it is a Vietnamese Noodle soup, and it is heaven in a bowl. Noodles, Clear Beef Broth, Citrus, Cilantro, I'm drooling already.
    Again to the topic of food and clay, this bowl set is designed by Omid Sadri for Pho specifically. The realtionship between the food and the pot live symbiotically.


    Via: Yanko Design
    Find out more about Pho: Pho Fever

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Phở -A long,long way to run.


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Phở -A long,long way to run.


    Noodle dishes make me happy. Whether, Chinese, Italllian, or anything in between.
    When Mrs. Rose and I head to a city, I always make it a point to get some noodles, as it is something that we don't have around here. Lanzhou Lamian has been my got to for a while. But, my obsession over the last few years has been Pho.


    If you are not familiar with Pho (Click here for a pronunciation), it is a Vietnamese Noodle soup, and it is heaven in a bowl. Noodles, Clear Beef Broth, Citrus, Cilantro, I'm drooling already.
    Again to the topic of food and clay, this bowl set is designed by Omid Sadri for Pho specifically. The realtionship between the food and the pot live symbiotically.


    Via: Yanko Design
    Find out more about Pho: Pho Fever

Post Title

Phở -A long,long way to run.


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Tuesday, July 28, 2009

It's. It's, It's...a Major Award.


    Another reason why the Tour de France is Awesome? What other major competition's award (besides a boatload of money) is a Porcelain Chalice? Only le Tour.

    Congratulations to Contador, he rode a hell of a race.

Post Title

It's. It's, It's...a Major Award.


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It's. It's, It's...a Major Award.


    Another reason why the Tour de France is Awesome? What other major competition's award (besides a boatload of money) is a Porcelain Chalice? Only le Tour.

    Congratulations to Contador, he rode a hell of a race.

Post Title

It's. It's, It's...a Major Award.


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Monday, July 27, 2009

Ocean's Cone 11

    At least this burglar had good taste. My question is that I can move pots from the studio to the house with out double bubble wrap. How the hell did this person get this fine porcelain out in one piece?

    Silent raider stole £1m porcelain collection from aristocrat's mansion

    An ice-cool thief stole dozens of pieces of delicate porcelain, worth more than £1 million, in a late-night raid on a stately home.

    He managed to clear out two display cabinets and escape down a ladder without disturbing the owner, his son or members of staff sleeping in the 15th century house.

    The silent theft was not discovered until a burglar alarm malfunctioned the next day and staff went to check the valuables.

    They found the only two cabinets not covered by CCTV were empty.

    The daring raid happened at Firle Place, near Lewes, East Sussex, on Sunday night.

    Its owner Lord Gage, 75, said the thief had used a ladder and glass cutters to enter the house.

    He added: 'He was a very cool burglar indeed, obviously a total professional.

    'The fact that there was a blind spot in our CCTV system is something I was completely unaware of - but obviously he wasn't.

    'Just how he succeeded in getting back down the ladder with two cabinets worth of valuable porcelain I'll never know.'

    Lord Gage, a former Army officer whose 34-yearold son was also in the house, said: 'There were a number of people here but nobody noticed a thing. It's a complete mystery.'

    The 30-piece haul included two rare identical French Sevres vases, crafted in 1763 in the royal factory founded by Louis XV and worth £400,000 each and another vase made in 1761 and worth £150,000.


    One of two identical twin vases stolen during a £1 million pound raid on the home of Lord Gage
    An extremely rare Hollandaise Nouveau (corr) figurine

    Stolen: One of two identical twin vases stolen during the raid and an extremely rare Hollandaise Nouveau figurine which was also taken


    A Hollandaise Nouveau figurine, valued at around £150,000, is also missing. Police said they believed they were stolen to order. The burglar ignored Old Masters paintings by Raphael and Anthony van Dyck.

    The manor house, which is open to the public, was built in the late 1400s by Lord Gage's ancestor, Sir John Gage, who was a Vice-Chamberlain to Henry VIII. Its external cladding is made of Caen stone to resemble a classic French chateau.


    Firle Place

    Burglars stole rare antiques worth £1million from Firle Place, a stately home near Lewes in East Sussex


    A later John Gage was created Baronet of Firle Place in the County of Sussex in 1622. Eight baronets followed before George I elevated Thomas Gage to the rank of Viscount in 1720.

    His son, General Sir Thomas Gage, was commander-in-chief of British forces at the beginning of the American War of Independence.

    The house has often been used as a film set, featuring in Return of the Soldier, starring Julie Christie, in 1981 and a BBC TV Jonathan Creek Christmas special.

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Ocean's Cone 11


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Ocean's Cone 11

    At least this burglar had good taste. My question is that I can move pots from the studio to the house with out double bubble wrap. How the hell did this person get this fine porcelain out in one piece?

    Silent raider stole £1m porcelain collection from aristocrat's mansion

    An ice-cool thief stole dozens of pieces of delicate porcelain, worth more than £1 million, in a late-night raid on a stately home.

    He managed to clear out two display cabinets and escape down a ladder without disturbing the owner, his son or members of staff sleeping in the 15th century house.

    The silent theft was not discovered until a burglar alarm malfunctioned the next day and staff went to check the valuables.

    They found the only two cabinets not covered by CCTV were empty.

    The daring raid happened at Firle Place, near Lewes, East Sussex, on Sunday night.

    Its owner Lord Gage, 75, said the thief had used a ladder and glass cutters to enter the house.

    He added: 'He was a very cool burglar indeed, obviously a total professional.

    'The fact that there was a blind spot in our CCTV system is something I was completely unaware of - but obviously he wasn't.

    'Just how he succeeded in getting back down the ladder with two cabinets worth of valuable porcelain I'll never know.'

    Lord Gage, a former Army officer whose 34-yearold son was also in the house, said: 'There were a number of people here but nobody noticed a thing. It's a complete mystery.'

    The 30-piece haul included two rare identical French Sevres vases, crafted in 1763 in the royal factory founded by Louis XV and worth £400,000 each and another vase made in 1761 and worth £150,000.


    One of two identical twin vases stolen during a £1 million pound raid on the home of Lord Gage
    An extremely rare Hollandaise Nouveau (corr) figurine

    Stolen: One of two identical twin vases stolen during the raid and an extremely rare Hollandaise Nouveau figurine which was also taken


    A Hollandaise Nouveau figurine, valued at around £150,000, is also missing. Police said they believed they were stolen to order. The burglar ignored Old Masters paintings by Raphael and Anthony van Dyck.

    The manor house, which is open to the public, was built in the late 1400s by Lord Gage's ancestor, Sir John Gage, who was a Vice-Chamberlain to Henry VIII. Its external cladding is made of Caen stone to resemble a classic French chateau.


    Firle Place

    Burglars stole rare antiques worth £1million from Firle Place, a stately home near Lewes in East Sussex


    A later John Gage was created Baronet of Firle Place in the County of Sussex in 1622. Eight baronets followed before George I elevated Thomas Gage to the rank of Viscount in 1720.

    His son, General Sir Thomas Gage, was commander-in-chief of British forces at the beginning of the American War of Independence.

    The house has often been used as a film set, featuring in Return of the Soldier, starring Julie Christie, in 1981 and a BBC TV Jonathan Creek Christmas special.

Post Title

Ocean's Cone 11


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Ageism


    These urns by Mathieu Lehanneur, are designed to represent the life spans of people around the world. Each urn has 100 rings, each of the rings from the table up, represents the the percentage of people in that country who die at that age. It is a terrifying representation of the struggles for life in other parts of the world, Nice pots too.

    I don't know why this image is so small. Click in it and you can see it at a reasonable size.

    Via: Moco Loco

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Ageism


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Ageism


    These urns by Mathieu Lehanneur, are designed to represent the life spans of people around the world. Each urn has 100 rings, each of the rings from the table up, represents the the percentage of people in that country who die at that age. It is a terrifying representation of the struggles for life in other parts of the world, Nice pots too.

    I don't know why this image is so small. Click in it and you can see it at a reasonable size.

    Via: Moco Loco

Post Title

Ageism


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De-Evolution



    These Neo-Neolithic knives were designed by Matthias Kaeding. They are meant to reference ancient stone tools, with the modern consideration of material and design.
    There is no doubt that ceramic knives are the best. They can be sharpened to a finer degree and will hold an edge better than metal. Metal knives, develop what is called a wire, where the metal on the edge wears into a ribbon, that reduces cutting ability. Where as ceramic knives don't wear.



    The real question is the handling. Can a knife like this be used as well as a modern knife? I will admit that I am pro-evolution. In that, I believe that things have evolved (Like handles on knives) happen and become the standard, because they work better that previews variations.
    Still an interesting object.


    Link

    I must thank Mrs. Rose, because she found these.

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De-Evolution


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