Vol. 1, No. 1, Fall 1972
Daniel Clark was a New Hampshire potter living and working in the 19th century who kept a "line-a-day" diary of his work and life. On page 3, Gerry Williams, SP's first editor and co-founder of the Daniel Clark Foundation, the original non-profit organization that was created in order to produce The Studio Potter, writes:
"For whatever reason Daniel Clark felt the need to preserve his moment in history, we are very fortunate it survived. If there is meaning to its ghostly resurrection across the years, it lies, perhaps, in the feeling of identity it evokes. In Daniel Clark we see ourselves. There is a kinship which exists between potters; neither age, nor place, nor time itself can alter or diminish that kinship."
Clark recorded his ailments believed to be associated with lead poisoning and may have "succumbed to its lethal effects" in the end. (Williams, p. 3)
Pete Sabin wrote an article titled "Some Thoughts on Apprenticeships" which were, and still are, an important part of studio potters' lives; this topic continued to be shared through many different voices in subsequent volumes. I am compelled to provide you with a quote from page 9 that is a clear indication of how times have changed ( . . . or not, depending on your point of view). He writes:
"Although no preference for either sex was indicated [in a SP survey of selected New England Potters about apprenticeship], a few hinted darkly that the presence of a shapely apprentice sometimes has had an unsettling effect on marital relations."
Finnaly, on page 18, Paulus Berensohn gives us a sneak peak into his yet to be published book, Finding One's Way with Clay. He divulges his fantasy about "the curriculum of a new school of pottery" including such courses as "How to keep a journal", "Carpentry", "How to bear leisure", and "Cooking".
Vol. 2, No.1, Summer 1973
Gerry's editorial hints at the future of the publication of which some statements have proven to be true and other's not. One you can judge for yourself is, "SP is for hardcore pottery. Nothing else will do."
Plum Tree Pottery in Farmington Hills, MI.
In the early days of SP, studio glass hadn't seen the 80's yet as is made clear by Michael Boylen, who remarks in his article, "Studio Glass in Perspective":
"There is little market for pretentious glass sculpture that makes the New York shows and gets a lot of media attention."
Boylen was first a ceramic artist, and stuck with clay throughout his carrer. Until recently, he taught ceramics at Marlboro College in Vermont. This is not the case as we know, with another ceramist turned glass-blower, Harvey Littleton, who you may know as the master grandfather of studio glass in the U.S., and, at the time this issue was published, had only had his studio up and running for about ten years.
Charles Musser wrote "The Pottery Film" in this issue, and later produced the film An American Potter, about editor Gerry Williams. Info about the film is available on Musser's website, but I was unable to track down the original film.
This issue has a wonderfully detailed section on the sprung arch kiln, and an illustrated page of "Funky Tools" by Mike Cohen who stuck around New England to found the successful Asparagus Valley Potter's Guild and annual tour.
That's All Folks!
Next: "Green" Kilns in olive drab, California Potters, and Janice Joplin. (So come on, come on, come on . . . back here, back here for the next post, now baby.)