2009 media kit connecting you with the ceramics community€¦ · artist: doug herren 87% leaders...

12009 Ceramics Monthly Media Kit

• Welcome to the Community, page 2

• Market Coverage, page 3

• Influencing the Community, page 5

• Purchasing Activities, page 6

• 2009 Editorial Calendar, page 9

2009 MEDIA KIT

Connecting You with the Ceramics Community

• 2009 Rates & Specifications, page 10

• Total Market Coverage, page 12

• 2009 Ceramic Art Guides, page 13

• Ceramic Arts Daily, page 14

• Contact Information, page 16

2 2009 Ceramics Monthly Media Kit

Every month, Ceramics Monthly celebrates the ceramic arts with a passionate, inspired community of artists and instructors.

Ceramics Monthly readers are deeply com-mitted to creative exploration and achieve-ment, and we place you at the center of this endeavor, where sharing creative ideas turns to action, and artistic vision becomes reality.

Make your organization a true partner in the creative process by joining our community. So get ready, get involved and get results.

Welcome to the Community

Charlie SpahrPublisher

Sherman HallEditorArtist: David Eichelberger

PASSIONATE | INSPIRED | ENGAGED


How Ceramics Monthly Subscribers Are Involved with Ceramic Arts Skill Level in Making Ceramic Art

Beginner (learning fundamentals)

42% Professional (derive income)

29% Enthusiast

Educator/teacher

8% Student

Owner/manager of craft shop, etc.

5%

14%

2%

Other

52%44%

4%

Advanced (mastered most

aspects)Intermediate

(mastered some aspects)

96% Make Pottery/Ceramic Art

87% Make Functional Pottery

77% Make Sculpture, Tiles, etc.

How Subscribers Gained Their Skills in the Ceramic Arts

College/University 72%

Commercial/Private Studio 42%

Market Coverage Reach Today’s Most Passionate and Accomplished Ceramic Artists

Workshops 69%

Art/Community Center 57%

Self-taught 57%

17% Taught by friend/relativeArtist: Joseph Pintz

Source: “Ceramics Monthly: Subscribers’ Commitment To And Engagement With The Ceramic Arts Community”; Martin Akel & Associates; 2007


Sources: “Ceramics Monthly: Subscribers’ Commitment To And Engagement With The Ceramic Arts Community”; Martin Akel & Associates; 2007

Your Sales Message in Ceramics Monthly Reaches a Total of More than 173,000 Subscribers and Pass-along Readers

Total Ceramics Monthly Audience Primary Subscribers + Pass Along Recipients

From the Publishers Statement for the June/July/August 2008 issue.

1. Total Paid/Requested Circulation 29,915

2. Average Pass-Along Recipients/Copy 4.8

3. Total Pass-Along Recipients/Issue 143,592

TOTAL MARKET REACH 173,507

In addition to the paid monthly circulation

and retail distribution, Ceramics Monthly

also offers bonus distribution at high-profile

industry events, such as the NCECA and NAEA

conferences, and SOFA expositions.

Artist: Michael Lancaster

Percentage of Subscribers Who Have Written Ceramic Art Related Articles or Have Been Interviewed for Articles: 34%

47% DeliverPresenta-tions*

Teaching courses 45%

Teaching workshops, seminars

Delivering presentations at exhibitions

Delivering presentations at less formal meetings

Training others at craft shops, art centers

Training others one-on-one (friend, relative, etc.)

Mentoring others 35%

37%

29%

40%

40%

61%

87% Teachers/ Trainers*

How Ceramics Monthly Subscribers Are or Have Been Involvedin Teaching/Training Other Artists

*Subtotals are unduplicated.

53% Teach Courses/ Workshops*


0 10 20 30 40 50

Ceramics Monthly Subscribers – Status As Opinion Leaders In The Ceramic Arts Community

Frequency of Being Sought Out for Advice on Ceramic ArtDESIGN, TECHNIQUES, APPROACHES

Frequency of Being Sought Out for Advice on Ceramic ArtPRODUCTS, EQUIPMENT, SUPPLIERS

80% Opinion Leaders

0 10 20 30 40 50

12% Very frequently

21% Frequently

47% Sometimes

20% Rarely/never

33% Frequently

Ceramics Monthly Subscribers

Impact the Activities of Their Peers

Very frequently17%

28% Frequently

42% Sometimes

13% Rarely/never

Number of Ceramics Monthly Issues Read

80% All issues

17% Most issues

2% Half the issues

1% Less than half/few or none

Ad Page Exposure

How Subscribers Go Through Issues of Ceramics Monthly

75% Front to back

22% Look at most pages

2% Look at half the pages

1% Less than half/few or none

Artist: Doug Herren

87% Opinion Leaders

45%

Frequently


Sources: “Ceramics Monthly: Subscribers’ Commitment To And Engagement With The Ceramic Arts Community”; Martin Akel & Associates; 2007Ceramics Monthly subscriber survey; July 2008

Subscriber Purchasing Activities

Prepared clay 87% 16% 29% 97% Raw materials 67% 14% 39% 90% Prepared glazes 67% 8% 41% 84% Hand tools 83% 10% 39% 96% Molds 25% 8% 30% 48% Clay mixers/pug mill 8% 5% 24% 29% Kilns 41% 1% 30% 69% Wheels 45% 4% 39% 61% Slab rollers 27% 3% 38% 64% Extruders 23% 1% 34% 60%

Studio furniture 27% 2% 35% 59%

*Unduplicated

Purchased Within Past 24 Mos.

Currently in the Purchasing Process

WillLikely/ Possibly Purchase (Next 24 Mos.)

Have Purchasing Activities*

Trend in Expenditures (Next Two Years)

61.2%

33.9%

5.4%

Dec

reas

e

No

chan

ge

Incr

ease

Ownership of Ceramic Art Materials Products and Equipment

70%

60%

43%

22%

78% 76%

42%36%

74%

Prep

ared

cla

y

Raw

mat

eria

ls

Prep

ared

gla

zes

Han

d to

ols

Mol

ds

Clay

mix

ers

/pug

mill

Kiln

s

Whe

els

Slab

rol

lers

Extr

uder

s

Stud

io fu

rnitu

re (r

acks

, she

lves

, tab

les,

etc.

)

93%98%


Ceramics Monthly Subscribers Make Extensive Use of Glazes and Kilns

Ceramics Monthly Subscribers Continually Invest in

Materials, Products & Equipment

Artist: Kensuke Yamada

Average Number of Friends, Relatives and Associates Subscribers Interact With, Who Are Also Ceramic Artists:

20.2People

Types of KilnsOwned or Used

10% Other

11% Wood-fired

31% Raku

40% Gas

89% Electric

HANDS-ON INVOLVEMENTWITH KILNS: 91%(Unduplicated)

Glaze FiringRanges Used

64% High-fire (cone 8 - 12)

64% Mid-fire (cone 4 - 7)

58% Low-fire (cone 08 - 04)

14% China paints/lusters (cone 022 - 018)

Mixing Glazes andPurchasing Premixed Glazes

HANDS-ON INVOLVEMENTWITH GLAZES: 95%

35% Mix own

44% Mix own &

buy premixed

5%

No involvement with glazes

16% Buy premixed


Every Issue of

Ceramics Monthly Includes . . .

FROM THE EDITORA call to creative action from the studio and from the field.

LETTERSA community forum for readers to share insights and opinions.

FEATURE STORIESProfiles of ceramic artists—what they're working on, why, and their techniques for success both inside the studio and out.

UPFRONTReviews and announcements of current and upcoming exhibitions.

ANSWERSTechnical problem-solving advice from experts in the field.

SUGGESTIONSInventive studio tips and solutions from our ingenious readers.

FOCUSRelevant topics discussed in depth by knowledgeable leaders in the field.

Ceramics Monthly March 200832

From Average to ExcEllEnt by Marc Leuthold, with Sarah G. Wilkins

This piece was created by Ceramics 3 student Chantel Torrey. The focus of Ceramics 2 and 3 courses is on traditional and nontraditional solutions to functional and nonfunctional forms generated on the potter’s wheel.

During the Renaissance, artists and their aristocratic patrons had strong ideas about quality in art. Michelangelo’s story of patronage by the Medici family illustrates how people in Florence and Rome responded to great art in the sixteenth century. When his “David” was unveiled, its excellence was so obvious that citizens papered the site of the statue with flowers and notes exclaiming, “You have given us our self respect…We are proud to be Florentines…Bravo!”

Lorenzo de Medici’s daughter gushed, “Everything my father hoped to accomplish for Florence is expressed in your David.” Today it is hard for us to imagine the impact of this singular work. Floren-tine citizens literally began to record the timing of events relative to “The Unveiling.” Historians attributed a subsequent flowering of trade and culture directly to this magnificent sculpture.

In Japan, great ceramics are similarly revered. Most houses and apartments have small spaces for a treasured ceramic vessel holding a

Ceramics Monthly March 200833

“Wall Service,” 60 in. (152 cm) in width, glazed earthenware, mixed media, by Mary Wilmart, tutorial student. At SUNY Potsdam, tutorial courses focus on the development of a personal artistic voice.

flower arrangement. At some museums, visitors can have tea served in a bowl selected from the teahouse collection. One New Year’s Day ritual centers around a great pot which may contain tea with flecks of real gold leaf floating on the surface.

Japanese ceramics have long been part of Western collections. From the early twentieth century onward, Japanese pottery tech-niques and aesthetics, promoted by Bernard Leach and others, have profoundly influenced the arts. Today the worldwide reverence for Japanese ceramics is unquestioned. The quality is visible. You can see it. Or you can learn to see it, with guidance. However, discernment is not an easy thing to teach.

It is especially difficult to teach this in our culture, which holds that the value and quality of art is a matter of personal opinion; that it’s entirely subjective. How do you educate young people to make art when many have never been to a museum and the majority grow up without original art in their homes? And, of course, students in college classes expect the results of their diverse artistic efforts to equate to single letter grades. This is the challenge to educators.

I have never felt comfortable giving high praise or high marks merely because I happen to “like” a student’s project. That seems unfair to students and undermines their goal of finding an indi-vidual artistic voice. Haven’t we all seen student work that looks too much like their instructor’s? In addition to qualitative issues, helping students avoid making derivative work is a priority. How can I teach them to know when their work is original and above average, and when it falls below the mark?

Young people taking introductory college courses typically don’t know when they are making good work. Earlier in their lives educators have taught from the perspective that judgment inhibits student creativity. While appropriate then, I believe that the op-posite is true later on. At the college level, educators have a duty to instill critical criteria to give adult students the tools for making good judgments. Critiques are essential to the process.

Future artists first need to learn to balance the brainstorming, execution and resolution stages of the creative process. Then they submit their efforts to the court of public opinion. The moment

COMMENTInsightful perspectives on the essence of being a ceramic artist.

Ceramics Monthly February 2008

88

Comment why the y? by Robert Silverman

After teaching at the university level for twenty years, I have accepted a position as director of the ceramics program at New York’s 92nd Street Y. Those who know me will not be surprised to learn that the deci-sion to relinquish tenure, summers off and free studio space in favor of teaching at a community art school was easy. I have always tried to challenge myself (and my students) to not be satisfied with what is comfortable, to embrace change. This process of self-reflection has served me well over the course of my career, and now it has led me to the 92nd Street Y.

I grew up in a Brooklyn home full of beau-tiful Persian rugs, Chinese porcelain vases and other antique decorative objects made from silver, glass and wood. My mother and grandmother would scour thrift stores and antique shops to find the most elegant and refined objects. But it was not until I found myself in a study abroad program in Japan in 1976, that I saw for the first time how ordinary people used beautiful handmade objects in their daily lives. This changed my life.

Back in the States, my aca-demic studies completed, I began formal training as an artist. I earned a B.F.A. and an M.F.A. and taught at several different institutions before accepting a tenure track position at Louisi-ana State University in 1991. I was fortunate to teach talented undergraduate and graduate stu-dents, but in time found myself thinking about a change in direc-tion. This summer, I made it.

So why the 92nd Street Y? Their ceramics program has an impressive history. A virtual Who’s Who of contemporary ceramics artists has taught there, including Chris Gustin, Jim Makins, Warren McKenzie and Betty Woodman. Teachers of this stature and a strong curriculum have enabled the program to maintain a level of excellence on

par with the best college programs—not bad for a community art school!

But what drew me to the Y was more than its impressive pedigree. Community education itself interests me. Recently I have thought a lot about the state of ceramics, and

it seems to me that the isolated and rarefied academic community has become stale and tired. Ceramic sculpture has continued to push boundaries by investigating and em-bracing interdisciplinary approaches; some of the most inventive examples are the early photographic work of Tim Roda, who uses ceramics as props; Ken Price’s use of paint as the surface for his sculptures; and Kirsten

Morgin’s and John Byrd’s merger of mixed media and clay. But everyday pottery and the vessel seem stuck in a state of perpetual reverence for the traditions established by Shoji Hamada and Bernard Leach a half-century ago. I am continually amazed that

the ceramics community is so hesitant to embrace technology and the indus-trial applications that other art fields employ so effortlessly. The marriage of art and industry offers so many opportunities to affect society—the work of Marek Ceckula’s Modus De-sign is a prominent example of this as are websites like DesignBoom, Core

77 and Domus—but the ceramics commu-nity has not seized those opportunities. We in the clay world should be working with the ceramic industry to design new objects—not leaving that work to industrial designers who have no experience with clay.

Community education has the potential to be at the vanguard of this change by opening up students and artists to fresh

ideas. Interdisciplinary courses that incorporate ceramics and 3D modeling, public art, indus-trial design, photography and printmaking—both “live” in the classroom and through distance learning—are just of a few of the things that can help attract a wider and more varied student population. While a number of innovative academic institutions offer some of these classes, the non-profit world the Y inhabits (with little endowment) is sup-ported primarily by its students’ tuition and therefore must be quick to reinvent itself to meet the ever changing needs of the community and its various con-stituencies. The 92nd Street Y welcomes these ideas. That’s why I’m here—to reinvigorate a great program at an institution that thrives on fresh ideas and new approaches, and to reinvigorate myself, as an artist and an educa-tor, in the process.

I am continually amazed that the ceramics community is so hesitant to embrace technology and the

industrial applications that other art fields employ so effortlessly.

The author instructs a student in his new gig at the Y.

CALENDAR/CALL FOR ENTRIESWhere artists can show their workor see the works of others.

Ceramics Monthly June/July/August 2008

70

calendar Conferences, Exhibitions, Workshops, Fairs submit listings at www.ceramicsmonthly.org

conferences

Indiana, Indianapolis September 19–21 “Surface, Form and Substance: Potters Council Regional Confer-ence” includes presentations and demonstrations with Debra Fritts, Ovidio Giberga, Susan Kemenyffy, Eva Kwong, Jeffrey Nichols and Lana Wilson. Fee: $330; mem-bers, $285. Contact Potters Council Amaco/Brent, 6060 Guion Rd., Indianapolis, IN 46254; [email protected]; www.potterscouncil.org/surfaceformandsubstance; (866) 721–3322.

Maine, Deer Isle July 13–17 “The Language of Craft,” includes lectures and panel discussions with Paulus Berensohn, Akiko Busch, Charles Garoian, Ja-net Koplos, John McQueen, Margo Mensing, Warren

Seelig and Kim Stafford. Fee: $310. Contact Haystack Mountain School of Crafts, PO Box 518, Deer Isle 04627; www.haystack-mtn.org.

Michigan, Grand Rapids October 2–4 “Sculpture in Public: Part 2, Public Art,” includes special exhibition, panel discussions and trade fair. For more information, visit www.sculpture.org.

North Carolina, Asheboro March 13–15, 2009 “North Carolina Potters Conference–Form and Function,” includes lectures and panel discussions with Phil Rogers, Mark Pharis, Allegheny Meadows. For more information, contact the Randolph Arts Guild, Moring Arts Center, 123 Sunset Ave., P.O. Box 1033, Asheboro 27204-1033; [email protected]; www.randolphartsguild.com; (336) 629-0399.

Tennessee, Gatlinburg September 10–13 “Utilitar-ian Clay V: Celebrate the Object National Symposium.” Contact Arrowmont School of Arts and Crafts, 556 Parkway, Gatlinburg 37738; [email protected]; www.arrowmont.org; (865) 436-5860.

New Jersey, Garden City June 27–29 “Island Clay,” includes lectures and demonstrations on alternative firing methods with Jeff Shapiro, Bill Shillalies, Anti Liu, Mena Romano and Hugh McElroy. Keynotes by Aurthur Goldberg and Judith Schwartz. Fee: $330; members, $285. Fee after June 4: $380; members, $335. Contact the Potters Council, 600 N. Cleveland Ave., Ste. 210, Westerville, OH, 43082; www.potterscouncil.org/islandclay.

solo exhibitions

Arizona, Tempe through August 2 “Susan Beiner: Synthetic Reality”; at Arizona State University Art Museum, 10th St. and Mill Ave.

California, Los Angeles July 5–August 30 Z Jacob-son; at Del Mano Gallery, 11981 San Vicente Blvd.

California, Oakland July 7–20 “Beauty and Power: New Work by Misty Gamble” at Cricket Engine Gallery, 499 Embarcadero Ave., Bldg. #3.

D.C., Washington through June 18 Hyun Kyung Yoon; at Cross Mackenzie Ceramic Arts, 1054 31st St.

Idaho, Coeur d’Alene July 11–August 9 Beth Cavener Stichter; at The Art Spirit Gallery, 415 Sher-man Ave.

Illinois, Chicago through June 7 Tyler Lotz, “Cul-tured Cleaning”; at Dubhe Carreño Gallery, 1841 S. Halsted St.

June 2–30 Trey Hill; at Lillstreet Art Center, 4401 N. Ravenswood.

June 6–August 1 Frank Saliani, “Abstractions and As-sociations”; at Function+Art, 1046 W. Fulton Market.

Maryland, Bethesda through June 7 “Beauty and the Beast: Ceramic Vessels and Sculptures by Liz Lescault”; at Waverly Street Gallery, 4800 East-West Hwy.

Massachusetts, Boston through June 9 “Ceramics by Sung Jae Choi.” June 14–July 14 “Ceramics by Ken Matszuaki”; at Pucker Gallery, 171 Newbury St.

through June 15 “Inspired by Japan: Pottery and Textiles by Susan Kotulak”; at Vessels Gallery, 8 Union Park St.

Massachusetts, Northampton through June 29 “Tom White: Wood, Salt and Soda.” August 8–Septem-ber 14 “Aysha Peltz: Stolen Moments”; at The Artisan Gallery, 162 Main St.

Massachusetts, Pittsfield August 23–October 4 Sergei Isupov, “Androgyny”; at Ferrin Gallery, 437 North St.

Minnesota, Minneapolis through July 20 “The Cosmic Collection by Josh Blanc”; at Clay Squared to Infinity-Infinity Gallery, 34 Thirteenth Ave.

Montana, Helena through June 1 “Jennifer Allen Farewell Exhibition”; at Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave.

New Mexico, Santa Fe through June 1 “FracShard: New Works in Clay by Patrick Crabb”; at Patina Gallery, 131 W. Palace Ave.

New Mexico, Taos through June 21 Caroline Douglas; at Wilder Nightingale Gallery, 119-A Kit Carson Rd.

New York, Alfred June 4–September 26 Chris Miller; at The Schein-Joseph International Museum of Ceramic Art, Alfred University.

New York, North Salem through June 7 Pak-hing Kan, “Palm Treasures”; at Hammond Museum and Japanese Stroll Garden, 28 Debeau Rd.

New York, Port Chester through June 21 “Kyla Toomey: The Objects of My Affection”; at Clay Art Center, 40 Beech St.

New York, Rochester July 4–27 Bethany Krull, “Signal”; at Genesee Pottery, 713 Monroe Ave.

Ohio, Zanesville June 6–August 10 “Charles Lakofsky: Ohio Modernist Master”; at Zanesville Art Center, 620 Military Rd.

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60

call for entries Deadlines for Exhibitions, Fairs and Festivals Submit online at www.ceramicsmonthly.org

international exhibitions

June 1 entry deadlineNew York, New York “14th Annual International

Exhibition” (July 17–August 13), open to all media. Juried from digital and slides. Fee: $30 for three en-tries. Juror: Chakaia Booker. Contact SOHO20 Chelsea Gallery, 511 W. 25th St., Suite 605; New York 10001; http://soho20gallery.com/juried.htm.

New York, New York “Stories We Tell Ourselves” (July 12–August 2), open to all media. Juried from digital. Fee: $45 for three entries; $5 each for additional entries. Con-tact Rhonda Schaller Studio, 547 W. 27th St., Suite 529; New York 10001; [email protected]; http://rhondaschallerchelsea.com; (212) 967-1338.June 2 entry deadline

Illinois, Chicago “1st Annual Lillstreet International” (September 1–October 1), open to functional porcelain. Juried from digital. Fee: $30 for three entries. Juror: Sam Chung, Assistant Professor of Ceramics, Arizona State University. For prospectus, send SASE to Lillstreet Art Center, James Mitchell, Gallery Director, 4401 N. Ravenswood, Chicago 60640; [email protected]; www.lillstreet.com.June 7 entry deadline

New York, New York “Home: The Planet Dreams of Survival” (September 5–October 2), open to all media. Juried from digital. Fee: $45 for three entries; $5 each for additional entries. Contact Rhonda Schaller Studio, 547 W. 27th St., Suite 529; New York 10001; [email protected]; http://rhondaschallerchelsea.com; (212) 967-1338.June 14 entry deadline

New York, Rochester “History in the Making III” (September 26–October 31), open to all works

incorporating a historical theme, trend, application or technique. Fee: $25 for three images. Juror: Linda Sikora. Contact Kate Whorton, Genesee Pottery, 713 Monroe Ave., Rochester 14607; [email protected]; www.geneseearts.org.July 7 entry deadline

South Carolina, Rock Hill “19th Annual Juried Competition” (August 20–September 21). Juried from digital or high-quality photographs. Fee: $30. Contact Arts Council of York County, 121 E. Main St., Rock Hill 29732; www.yorkcountyarts.org; (803) 328-2787.July 10 entry deadline

Spain, La Rambla (Córdoba) “Exposition of Pottery and Ceramic.” Juried from digital or photographs. No Fee. For prospectus, visit www.ceramicadelarambla.com. July 15 entry deadline

Colorado, Estes Park “12th Annual Lines into Shapes” (September 19–October 4), open to all me-dia. Juried from digital or slides. Fee: $13/entry. For prospectus, visit www.artcenterofestes.com; or send SASE to Art Center of Estes Park, PO Box 3635, Estes Park 80517; (970) 586-5882.August 1 entry deadline

California, Graton “Fourth International Biennial Ashes to Art/Scattered” (September 26–November 30), open to non-traditional funerary urns, scattering vessels, reliquaries, biodegradable and ritual objects. Juried from digital and slides. Fee: $35 for three entries; $5 each for additional entries. Jurors: Adela Akers, Nadine Jarvis and Sylvia Seventy. For prospectus, send SASE to Funeria, PO Box 221, Graton 95444; [email protected]; www.funeria.com; (707) 829-1966.August 15 entry deadline

Montana, Helena “Beyond the Brickyard” (January 2009), open to artists working in clay. Juried from digital.

Fee: $35 for three entries. Juror: Patti Warashina, Archie Bray Voulkos Fellow. Contact Archie Bray Foundation for Ceramic Arts, 2915 Country Club Ave., Helena 59602; www.archiebray.org; (406) 443-3502, ext. 18.September 19 entry deadline

Pennsylvania, Wayne “Craft Forms 2008” (De-cember 5–January 22, 2009), open to contemporary craft. Juried from digital and slides. Fee: $40; online submission, $30. Contact Wayne Art Center, 413 Maplewood Ave., Wayne 19087; www.wayneart.org; www.craftforms.com.November 26 entry deadline

Montana, Missoula “International Cup” (February 6–28, 2009), open to ceramic cups from around the world. Juried from digital or slides. Fee: $20 for one en-try; $25 for two entries. Juror: Patti Warashina. Contact The Clay Studio of Missoula, 1106 Hawthorne St., Unit A, Missoula 59802; [email protected]; www.theclaystudioofmissoula.org; (406) 543-0509.February 1, 2009 entry deadline

Kansas, Pittsburg Call for Solo, Two Person or Group Exhibition Proposals. Juried from digital or slides. No Fee. For information, visit www.pittstate.edu/art/exopp.html. Contact Pittsburg State University, 1701 S. Broadway, Pittsburg 66762; [email protected]; (620) 235-4303.

united states exhibitions

June 1 entry deadlineMaryland, Largo “Juried Sculpture Exhibition”

(August 24–October 9). Juror: Kristen Hileman, Associ-ate Curator of Contemporary Art, Hirshhorn Museum and Sculpture Garden. Contact Marlboro Gallery, Attn: Sarah Wegner, Prince George’s Community College,


Silvie GranatelliDeeply Invested

The FIrsT TIme I touched clay was at the Kansas City Art Insti-tute in 1966. From that moment on, my life revolved around figuring out how to make a living with ceramics. In the ’60s, there were not many contemporary examples of studio potters, but Ken Ferguson, my professor, made his students aware that being a professional potter was a real possibility. At that time, the many things I didn’t know were a blessing. I thought everything was possible. After graduate school, I worked in several communal studios in and around my native Chicago before making my way to the south.

As a young potter, my central goal was to make a seamless balance between my studio work and my domestic life. After many fits and starts, I ended up in Floyd, Virginia, where I set up a studio. I spent the first twenty years of my career doing craft shows and selling wholesale to gal-leries. I also did workshops, which greatly supplemented my income.

It was initially difficult to figure out the perfect balance between the options. The upside of craft shows was the direct interaction between my audience and myself. They were a great place to see how people reacted to new work. selling pots at a craft show is like handing everyone your heart on a plate with a knife and fork. It can be a very vulnerable experience.

The real downside of doing craft shows was the amount of time I had to spend away from the studio. In that regard, selling pots wholesale was a boon, allowing me to stay home and work. But the equation worked only if I managed to spend the right amount of time filling orders while still sustaining a large enough percent of my income through this work. filling wholesale orders had its drawbacks, too—I realized I just had to make too many pots!

Of all my income options, traveling to teach workshops was perhaps the most gratifying and fulfilling. While standing in front of students, I was able to further articulate my ideas, work on new forms as dem-onstration pieces and visit wonderful places.

Over the past ten years, I have developed a new and more stable source of income by working closely with a group of craftsmen who live in my community. Together, we started 16 hands, an art collec-tive whose main approach to selling work is a self-guided tour of our studios. Through this tour, held twice a year, and through year-round sales in my studio gallery, I am able to generate most of my income. To make up the remainder, I still do workshops and participate in gallery shows around the country.

In hindsight, I realize it was fortuitous that I settled in a location where the cost of living was affordable. I own a home and property near a small river in southwest Virginia, and I have health insurance and a retirement account. health insurance is expensive for the self-employed. In fact, it is my largest yearly bill.

I am also frugal and conscientious of my spending habits. I don’t take out loans to pay for more equipment, additions to the studio, or advertising. Instead, I take on small teaching jobs, workshops, or make special order pottery. I also save 20–30% of my yearly income, which has provided a financial cushion. I consider this money fluidly available for use throughout the year. And if it is not used, at the end of the year I invest it in something I need. I do my own bookkeeping but hire an accountant for taxes, a habit I’ve kept from even my poorest days. This financial plan has held me in good stead for years, allowing me to travel and cook gourmet food, two of my favorite pastimes.

I’ve been fortunate to undergo my professional maturation sur-rounded by a group of potters in Floyd and the surrounding area. happenstance has brought us together, connected by like-mindedness and mutual respect. After years of helping each other with technical problems, sharing trips to craft shows, and giving each other advice on both business and personal issues, I can’t imagine a life without our close-knit community of artists.

If I have a business philosophy, it begins with the fact that I chose this life for a reason and I am willing to invest in it deeply. I take my work and my life seriously, and I believe this attention has given me a useful perspective and solid foundation. I’ve also learned that investing in myself helps other people take me seriously as well. As a potter, all you have is your pots, the way you present them, and yourself. If you want to succeed, you have to seriously consider what it takes to get the presentation right. I have a web site, business cards and well-designed brochures advertising the 16 hands tour. These advertising tools help make my work visible to the public. And, perhaps most importantly, I never say no to an opportunity that might help me grow in my field.

Silvie Granatelli carves a large leather-hard bowl in her Floyd, Virginia studio.

Sylvie Granatelli

M o n t h l y

June/July/August 2008 $7.50 (Can$9) www.ceramicsmonthly.org

focus the potter’s life

focu

s the p

otter’s life


Issue Focus Reservation deadline Materials deadline Details

Sculpting a Living from Clay – Planning and Opportunities

• Ourexclusiveannualcomprehensivelistingof ceramics residencies and fellowships.• Adviceandinsightfromworkingceramic sculptors on how to build a career; from sales and marketing to working with galleries.

• Crossovertrendsbetweenindustry,technology, manufacturing and studio ceramics. • RapidPrototyping,computerassisteddesign/ manufacturing, and other tools for the techno- ceramist.

• Thestateandhealthofcommunityceramiceducation. Discussion of what trends and long-term effects can be seen based on class enrollment, gallery attendance, studio rental, etc. Distribution at NCECA (National Council on Education for the Ceramic Arts) Conference.

• Theonlycompletelistingofceramicworkshops available for the summer of 2009

• DistributionatNAEA(NationalArtEducationAssociation) conference.

• Ourever-popularannualshowcaseofnew talent in contemporary studio ceramics.

• Professionalpotterssharetheirexperienceon the lifestyle and business of being a working potter. From making to marketing, there is something form everyone.

• Worksbythenextgenerationofup-and-coming undergraduate students.• Kickoffofgraduateprogramprofiles,included in every fall issue through December, featuring student and instructor work, facilities details and educational mission.

• ComprehensiveGalleryandMuseumListing• Bonusdistributiontostudentsandenthusiasts at SOFA (Sculpture Objects and Functional Art) exposition.

• Artistswhoputasideegoandownershipin exchange for the search for something more.

• Pottersandchefscollaboratetocreateaverbal, visual and culinary dialog between these two closely related professions. Yum!

Old Clay, New Tricks: Ceramic Technology

Artist: Heather Mae Erickson

2009 Editorial Calendar

JAnuARy November 19, 2008 November 26, 2008

FEbRuARy December 17, 2008 December 30, 2008

MARCH Education:MudontheBrain January 21, 2009 January 28, 2009

APRIL Summer Workshops February 18, 2009 February 25, 2009

MAy Emerging Artists March 18, 2009 March 25, 2009

JunE/JuLy/ Work and Play: April 22, 2009 April 29, 2009AuGuST/ The Potter’s Life

SEPTEMbER College Clay: July 22, 2009 July 29, 2009 Undergraduate Showcase

OCTObER GalleryGuide August 19, 2009 August 26, 2009

nOvEMbER The Culture of Clay: Collaboration September 16, 2009 September 23, 2009

DECEMbER Feed the Need: Pots and Food October 21, 2009 October 28, 2009


IMportant Dates

InforMatIon

EffECtivE datE: January 2009 issue.

frEquEnCy: Monthly except the June/July/august issue.

CovEr ratES: Covers are sold on a non- cancelable four-color basis for the contract year. rates for the second and third cover positions are the earned color rate plus 25%. the rate for cover four is the earned color rate plus 35%.

PrEfErrEd PoSitionS: Preferred positions are sold on a non-cancelable four-color basis for the contract year. the rate for special positions is the earned color rate plus 10%.

agEnCy CoMMiSSion & tErMS: 15% of gross billing to recog-nized agencies on space, color and preferred position charges, provided payment is made within 30 days of the invoice date. thereafter, gross rates apply, and a late fee of 1.5% monthly

may be assessed.wEb SitE advErtiSing: available. Call for details.

inSErtS and tiP-onS: Subject to Publisher approval. Stock and copy sample must be submitted to Publisher by the first of the month, two months prior to the scheduled issue for Publisher approval (January 1 for a March issue). Contact Publisher for specifications, quantities, shipping instructions and rates.

SiZE 1x 3x 6x 10x 13x 16x 19x

full Page $2390 2270 2030 1865 1745 1625 1505

213 Page $1915 1815 1625 1485 1390 1290 1200

1/2 Page island $1695 1605 1435 1315 1245 1150 1080

1/2 Page $1530 1465 1290 1200 1125 1050 960

1/3 Page $1200 1150 1030 930 890 815 770

1/4 Page $ 910 865 770 715 670 630 575

1/6 Page $ 695 670 595 555 510 480 435

add color: $655 for full page $550 for 2/3 page, 1/2 island or 1/2 page $385 for 1/3 page, 1/4 page or 1/6 page

Classified & Business services advertising available. for more information,

aDvertIsIng rates

2009 Advertising Rates

Issue reserve By MaterIals Due MaIl

January nov. 19, 2008 nov. 26, 2008 Dec. 15, 2008

february Dec. 17, 2008 Dec. 30, 2008 Jan. 19, 2009

March Jan. 21, 2009 Jan. 28, 2009 feb. 16, 2009

april feb. 18, 2009 feb. 25, 2009 Mar. 16, 2009

May Mar. 18, 2009 Mar. 25, 2009 april 13, 2009

June/July/august apr. 22, 2009 apr. 29, 2009 May 18, 2009

september Jul. 22, 2009 Jul. 29, 2009 aug. 17, 2009

october aug. 19, 2009 aug. 26, 2009 sep. 14, 2009

november sep. 16, 2009 sep. 23, 2009 oct. 12, 2009

December oct. 21, 2009 oct. 28, 2009 nov. 16, 2009


2009 Production Specifications

Artist: Sam Scott

aDvertIseMent sIzes

fiLES: a press-quality Pdf is preferred (with all fonts embedded). other file formats accepted are JPEg, tiff, EPS and most major Macintosh page-layout programs.

fontS: type 1 fonts are required. truetype fonts will be replaced with the closest match available.

art: all placed images, graphics, logos, and fonts must be included.

rESoLution: Line art, 1200 dpi; color art, 300 dpi. Low-resolution images will be resampled to appropriate levels as needed.

CoLor: all color images must be set to CMyK output with no iCC or CiE color profiles attached. a hard-copy proof is required in order for color to be considered critical. the publisher cannot be held responsible for the reproduction quality if the proofing requirements are not met or if materials are submitted past closing date.

HaLftonES: black-and-white halftones should be set to grayscale.

files may be submitted on Cd-roM, or ftP.

Please label artwork with the issue date, advertiser name, file name.

for proofs and file transfer instructions, contact Jan Moloney at [email protected].

2 facing pages 17” x 10 7/8” full page 8 1/2” x 10 7/8”2/3 page 4 5/8” x 10”1/2 page island 4 5/8” x 7 3/8”1/2 page (vertical) 3 3/8” x 10” 1/2 page (horizontal) 7” x 4 7/8”1/3 page (vertical) 2 1/4” x 10”1/3 square 4 5/8” x 4 7/8”1/4 page 3 3/8” x 4 7/8”1/6 page 2 1/4” x 4 7/8”

Publication trim Size: 8 1/2” x 10 7/8” bleed: add 1/8” all around (full page ads only)Live Matter: Should be kept 1/4” from trim edge (full page ads only)Halftone Screen requirements: 150-Line Screentype of binding: Perfect

aD sIzes speCIfICatIons

MeCHanICal reQuIreMents


Total Market Coverage

All insertions count toward your frequency discount when you advertise in any combination of our 2 magazines and 3 ceramic art guides.

Make an impression in our many channels to efficiently reachceramic artists at every level—enthusiasts and professionals;

beginners and experts.

Ceramics Monthly • Pottery Making Illustrated

NCECA Guide • Workshop Handbook • Ceramic Arts Buyers Guide

08

A supplement to Ceramics Month ly and Pottery Mak ing I l lus t rated

BuyersGuideA S T U D I O R E F E R e N C E

C E R A M I C A R T S

Find

Manufacturers

Suppliers

Kilns

Pottery Wheels

Slab Rollers

Extruders

Clays

Glazes

Tools

Tile

Bisque

Books

Videos

STudio REFEREnCE

Technical information

Buying information

Recipes

Firing Chart

Glossary

Suggestions

...and more!

M o n t h l y

February 2008 $7.50 (Can$9, E6.50) www.ceramicsmonthly.org

focus design is not a dirty word

focu

s desig

n is n

ot a d

irty wo

rd

Heather Mae Ericksondesigns for ambiguous function

2008Workshop HandbookGet Ready. Get Involved. Get Results.

Brought to you by the publishers of

nceca2008guide

M o n t h l y

ww

w.C

eramicA

rtsDaily.o

rg

NCECA 2008 at a Glance Plan your conference days with this quick and easy reference guide

Pittsburgh Restaurants Favorite local spots for sustenance and refreshment

Exhibition Maps Plan your tour schedule or take a walk around downtown Pittsburgh

Program Notes Details on all conference events

Exhibitor Booths Browse the many offerings of commercial and nonprofit organizations

h Celebrating ten Years 1998-2008 h

Making a Fireplace SurroundBending Tiles for Home and Hearth

Large Pots from Large MoldsMaking it Big in Pottery Without a Wheel

Over the HumpCreating and Using Oval Drape Molds

Amy Santoferraro’s

Press Forming with Foam

May/June 2008

Plate-O-Matic!


nceca2008guide

M o n t h l y

ww

w.C

eramicA

rtsDaily.o

rg

NCECA 2008 at a Glance Plan your conference days with this quick and easy reference guide

Pittsburgh Restaurants Favorite local spots for sustenance and refreshment

Exhibition Maps Plan your tour schedule or take a walk around downtown Pittsburgh

Program Notes Details on all conference events

Exhibitor Booths Browse the many offerings of commercial and nonprofit organizations

2008Workshop HandbookGet Ready. Get Involved. Get Results.

Brought to you by the publishers of

08

A supplement to Ceramics Month ly and Pottery Mak ing I l lus t rated

BuyersGuideA S T U D I O R E F E R e N C E

C E R A M I C A R T S

Find

Manufacturers

Suppliers

Kilns

Pottery Wheels

Slab Rollers

Extruders

Clays

Glazes

Tools

Tile

Bisque

Books

Videos

STudio REFEREnCE

Technical information

Buying information

Recipes

Firing Chart

Glossary

Suggestions

...and more!

2009 Ceramic Arts Guides

CEraMiC artS buyErS guidE advErtiSing ratESStudio rESourCE

this comprehensive guide and studio reference is the first place our 40,000+ unduplicated readers will turn to research equip-ment and supplies before placing orders for their 2010 budget year. and it will be their studio and classroom reference as they purchase materials and add or upgrade studio equipment.

SiZES 1x 3x 6x 10x 13x 16x 19x

full Page $2525 2400 2150 1970 1845 1720 1595

2/3 Page $2025 1920 1720 1565 1470 1365 1265

1/2 Page island $1795 1695 1515 1390 1315 1215 1140

1/2 Page $1620 1545 1365 1265 1190 1115 1015

1/3 Page $1265 1215 1090 990 935 865 810

1/4 Page $ 965 910 810 765 705 660 610

1/6 Page $ 735 705 635 580 535 510 455

add color: $655 for full page; $550 for 2/3 page, 1/2 island, 1/2 page; $385 for 1/3 page, 1/4 page, 1/6

page

reserve by: September 9, 2009Materials due: September 16, 2009 | Mail date: october 12, 2009

nCECa guidE advErtiSing ratESPHoEnix, ariZona | aPriL 8-11, 2009

reaches 4000+ conference attendees as they plan their visit to workshops, technical sessions and your booth during this intensive four-day event. this guide will be distributed to all registered attendees prior to their nCECa visit, allowing more viewing time for your ad while they're deciding what equipment and materials to purchase.


full Page $805 770 685 635 585 550 515

2/3 Page $645 620 550 505 465 440 405

1/2 Page island $570 540 480 445 420 395 360

1/2 Page $515 500 440 405 385 355 325

1/3 Page $400 395 345 315 300 280 265

1/4 Page $310 295 265 240 225 210 195

1/6 Page $235 225 205 190 175 170 150

add color: $330 for full page, 2/3 page, 1/2 island; $220 for 1/2 page, 1/3 page; $165 for 1/4 page, 1/6

page

reserve by: february 4, 2009

EduCation: aPProaCH and ExPEriEnCE

reaches 8000+ potters who have the discretionary income to attend educa-tional work-shops, where they will learn about the equipment and materials needed to continue their personal growth in their craft. this is your chance to reach individuals expanding their personal and profes-sional skills.


full Page $1605 1525 1370 1255 1175 1095 1015

2/3 Page $1285 1225 1095 1000 935 875 805

1/2 Page island $1145 1080 965 890 840 775 725

1/2 Page $1025 985 875 805 760 705 650

1/3 Page $ 805 775 690 635 595 550 520

1/4 Page $ 615 580 520 480 450 420 395

1/6 Page $ 465 450 405 380 340 325 295

add color: $330 for full page, 2/3 page, 1/2 island; $220 for 1/2 page, 1/3 page; $165 for 1/4 page, 1/6

page

reserve by: april 15, 2009

worKSHoP HandbooK advErtiSing ratES


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assistant Editor

brandy woLfE(614) 895-4213 | [email protected]

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Contact Information

national Sales account Manager

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advertising Services representative

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Managing Editor - Ceramic arts daily

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2009 media kit connecting you with the ceramics community€¦ · artist: doug herren 87% leaders...

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