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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
32009 Ceramics Monthly Media Kit
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
4 2009 Ceramics Monthly Media Kit
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*
52009 Ceramics Monthly Media Kit
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
6 2009 Ceramics Monthly Media Kit
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%
72009 Ceramics Monthly Media Kit
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
8 2009 Ceramics Monthly Media Kit
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; cdorr@ceramics.org; 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; arts@asheboro.com; 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; info@arrowmont.org; 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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Ceramics Monthly June/July/August 2008
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; info@rhondaschallerchelsea.com; 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; james@lillstreet.com; 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; info@rhondaschallerchelsea.com; 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; pottery@geneseearts.org; 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; pros@funeria.com; 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; info@theclaystudioofmissoula.org; 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; sbowman@pittstate.edu; (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,
Ceramics Monthly June/July/August 200836
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
92009 Ceramics Monthly Media Kit
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
10 2009 Ceramics Monthly Media Kit
IMportant Dates
InforMatIon
EffECtivE datE: January 2009 issue.
frEquEnCy: Monthly except the June/July/august issue.
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Issue reserve By MaterIals Due MaIl
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December oct. 21, 2009 oct. 28, 2009 nov. 16, 2009
112009 Ceramics Monthly Media Kit
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12 2009 Ceramics Monthly Media Kit
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
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Manufacturers
Suppliers
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...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
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eramicA
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NCECA 2008 at a Glance Plan your conference days with this quick and easy reference guide
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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!
132009 Ceramics Monthly Media Kit
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.
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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.
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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.
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14 2009 Ceramics Monthly Media Kit
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152009 Ceramics Monthly Media Kit
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