In A Potter's Workbook, renowned studio potter and teacher Clary Illian presents a textbook for the hand and the mind. Her aim is to provide a way to see, to make, and to think about the forms of wheel-thrown vessels; her information and inspiration explain both the mechanics of throwing and finishing pots made simply on the wheel and the principles of truth and beauty arising from that traditional method. Each chapter begins with a series of exercises that introduce the principles of good form and good forming for pitchers, bowls, cylinders, lids, handles, and every other conceivable functional shape. Focusing on utilitarian pottery created on the wheel, Illian explores sound, lively, and economically produced pottery forms that combine an invitation to mindful appreciation with ease of use. Charles Metzger's striking photographs, taken under ideal studio conditions, perfectly complement her vigorous text.

Clary Illian has been producing ceramics since the early 1960s, after graduating from the University of Iowa's distinguished ceramics department and a two-year residency with world-renowned British ceramicist Bernard Leach. Clary Illian: A Potter's Potter surveys many of the best works from her fifty-year career, including pots in stoneware, porcelain, and earthenware, the three major media in which she has worked. It is a revelatory look at one of America's premier potters. This catalog was originally produced as a companion to the Cedar Rapids Museum of Art's Clary Illian pottery retrospective in 2012-2103.

Examines the standards of and the various clays, pigments, and glazes used in Japanese raku, English slipware, stoneware, and Oriental porcelain, showing students how to adapt designs to local conditions

Sorkin focuses on three Americans who promoted ceramics as an advanced artistic medium: Marguerite Wildenhain, a Bauhaus-trained potter and writer; Mary Caroline (M. C.) Richards, who renounced formalism at Black Mountain College to pursue new performative methods; and Susan Peterson, best known for her live throwing demonstrations on public television. Together, these women pioneered a hands-on teaching style and led educational and therapeutic activities for war veterans, students, the elderly, and many others.

Beauty will always reside in the eye of the beholder, but what about the fine line between beauty and functionality? Can a purely utilitarian form, such as a simple pot, vase, or plate, truly be considered a great work of art? In The Art of Contemporary American Pottery, author Kevin A Hluch takes up the challenge of addressing this debate. Hluch, who examines pottery from a unique perspective as historian, scholar and connoisseur, finds as much meaning and nobility in a thoughtfully crafted clay vessel as he does in a masterpiece painting. There are many reasons why a good pot is a good pot. Some reasons are obvious. Some are subtle. Some only reveal themselves when you know how to look. With the help of more than 200 beautiful color photos featuring the world of the country's best utilitarian potters, and a lengthy list of artists and galleries, Hluch does more than just talk about how great pottery is made. He talks about what makes great pottery.

"A book of advances wheel techniques and inspiration for potters who have basic skills but would like to learn more about throwing large forms, lids, handles, darting, and more"--