Book Reviews

Craft Perception and Practice:

A Canadian Discourse

Ed. Paula Gustafson

Ronsdale Press & Artichoke Publishing
2

7/12 x 10 224pp Paperback $24.95

37 full page colour photos

If you are interested in discussions regarding the social relevance
of craft and its seemingly invisible nature in our society, Craft
Perception and Practice isa very engaging read, “This book and
the volumes that follow are the first in Canada to be catalogued as
art books. Previously, books published about craft — whether
histones, narratives or reportage — have been indexed under the
subject headings of Handicrafis, Arts & Crafts movement, or
other outdated classifications.” The editor begins the discourse
this way for a reason.

Paula Gustafson has assembled a collection of intriguing and
informative essays written by curators, acadermmcs and craft
practitioners. Topics range from commentanecs to theory and
personal experience, more than half of which represent the
ceramic medium. A cursory look at the contents reveals the depth
and breadth of the publication: Response and Revelation, Surface
and Imagery, Objects and Objectivity, Language and Theary,
Making Meaning, and Redefining Tradition, These categories
show why this book is catabogucd as an art book and mot listed
under “handicrafis”, The social significance and import of craft
have, in our society, been underground concepts understood only
by its practitioners and this fact is a common thread in these
discussions,

One essay that is particularly satisfying to read is 4 transcription
ofa lecture delivered by Glenn Allison to an audience of ceramists
at Fireworks “94 in Edmonton, Alberta, [tis a politically charged,
riled up bitof writing that makes youcheer out loud while reading.
“Cibjects terrorize theorists. And no objects terrorize them as
thoroughly as common pots, especially anonymous pots” (p.45),
~ is one such statement. Commenting on the integrity of making
he says that “Sources must pass through the crucible of personal
experience and bodily action to be made real. So if mfluences are
global, they are also personal, and they néed to be carried to the
core, to the kiln of the psyche, cultivated im the clay of our
being.”(p.50) This writing is the cure for Corning ware blues.

Philosophies and styles of discussion vary in the collection. The
language ranges from both feet on the ground and downnght
ribald to convoluted art speak, the mixture of which adds to the
overall appeal of the book. And while there are 37 full-page
colowr photos of work, the quality of the photo reproduction is not
the best it could be. This is disappointing considering the literary
quality of the publication. Nonetheless, it is an excellent read for
anyone interested in current thoughts on craft whether you're a
potter, weaver, glass blower or practitioner in any other medium.

Craft: Perception and Practice is available at most bookstores.
Rachelle Chinnery

February 2003

Potters Guild of British Columbia Newsletter

ees aku

Raku

by John Mathieson

November 2002; Co-published by A&C
Black, London, ISBN 0-7136-5783-9 and
the American Ceramic Society, Ohio ISBN
0-7136-5783-8; 6" x9" Paperback 128p
$26,0008

For such a small book, only 128 pages, John Mathieson’s Raku
is remarkably complete. It opens with A Brief History of Raku
explaining the Japanese origins and the western “metamorpho-
sis” of the process. “The word is variously translated as meaning
pleasure, enjoyment, contentment, and felicity, and comes from
one of the characters in the name of a palace built by Hideyoshi,
Jurakudai_!.../ “Raku in Japan is therefore a family name, a
pottery dynasty, though the use of the technique is not restricted
to the Raku family. The current holder of the tithe, Mr. Raku
Kichizaemon, is the 15° generation, Work I have seen by him I
found intensely moving.” (p.8) The introduction sets the tone and
pace for the rest of the book in that it is succinct and interesting.
On almost every page there is a colourful image (remember this
is raku) depicting the topic at hand.

In the chapter, Kiln Construction, a full gamut of firing processes
is examined: the Makers’ Profiles features the work of 28 artists,
and Health and Safery lists both common sense and trial and error
recommendations. Oddly enough this chapter has, on page 52
(right under a paragraph that begins with ‘Choose the site for your
firing with care"), a photograph of Bob Smith up to his ankles in
straw, covering 4 smoldering garbage can nght beside a wood
sided house. Apart from this oversight, each of these chapters is
beautifully and appropriately illustrated with photographs of
excellent quality.

The aesthetic of the book ts extremely vaned and profiles an
intermmational roster. Mathieson presents work ranging from sculp-
tural to functional to kiddy decorations. Achingly clegant gourd
forms by Tim Andrews are soon followed by the acrylic enhanced
reliquaries of Rick Foris and Jim Bassett’s iridescent “bugs”.
Germany's Horst Kerstan is represented by a raku lidded jar on
page 92 that, with its soft pitted crackle glaze and hints of burnt
orange water colour-like brushstrokes, could easily stand beside:
high fired Shino work. Variety of styles is one of the strengths of
the book and it show's thal any ceramist, expressive or traditional,
could find a suitable pursuit within this firing method: glossy and
painterly, rough and carthen, quict and subdued.

Mathieson concludes the book with 44 recipes for glazes, lustres
and slips, 20 website addresses of interest to ceramists, including
that of the Raku Muscum in Kyoto, and 48 international suppliers.
The only real problem with the publication is that it is not big
enough. This book could have been published in hardcover and
three times its size given the quality of the photography and the
depth of its comtent-

Copies of this book can be ordered through The Mad Potter at
604.244.3734 or Greenbarn Potters Supply at 604.888.5411,
Rachelle Chinnery