The Artist on Santa Fe
Thomas G. Turnquist
The Artists on Santa Fe Denver began in 1982 in Denver. The premise was to offer inexpensive
work facilities. Low rents permitted the potter/artists to spend more money on tools and
equipment. The Artists of Santa Fe was purchased in 1997 by well known Denver potter Macy
Dorf. Even though rents would triple after the purchase, they were well below the Denver
rent levels. The facility had 15,000 square feet with three floors. Twenty-five artists were housed.
Nine of the artists worked in clay at the beginning. The clay work ran from low fire to high fire.
A mix of function and pure decorative. A very eclectic array of work.
The building is not a co-op. Each potter has their own equipment and kilns. The gallery is
a co-op and the building takes 20% of sales in exchange for watching the gallery, setting up
new exhibits every month. A plus side is that the people who have a studio have a place
to show their work in one of the top art districts in the City of Denver. The down side is
that the work is only shown inside the facility. Even though everyone is always
producing new work and the gallery looks different every month, it remains the same
group. To overcome this problem, we invite artists of all mediums to be featured for
one month. This gives a new look and prompts people to come in observe what
is available. Variety is an important drawing card.
Macy Dorf has been a production potter for forty years and produces a wide variety
of well designed work. Included are bowls, pitchers, cups, platters, mugs, and very large
vessels. The scale runs from small cups to very large vases. He been very successful
with scultural forms of substantial dimensions. The large forms work well his surface treatments.
Nothing seem forced--it all flows in a natural progression.
Dorf was a big part of the Denver pottery scene beginning in the late 1960 and early 1970s.
Potters that were part of that era included Maynard Tischler, Roger Lang, Mark Zammantakis.
Duane Johnson, Loie Daily, Maynard Tischler, Herb Schumacher, Ed Oshier, Jim and Nan
McKinnell, Henry Mead, Jim Lario, Gene Lang, Bob Nelson, and Betty Woodman.
Contemporary clay artists do flourish at the Santa Fe Gallery.
Many fine artists exhibit and sell at the gallery. This art venue provides variety coupled
with quality. Visitors can feel connected and energized. Each artist handled is there
because of creativity and their love of art and design. A major goal is to expose the
high quality of work that is available to Colorado residents. A successful goal
would be an elevation in sales and an increased awareness in the community
of what is happening at our gallery.
Tuesday, November 30, 2010
Wednesday, November 24, 2010
Great Studio Pottery That Few Know About
Don Glagow
Bill Tyner
Ruth Perdew
Loie Daily
Pottery Shack
Kurt Kurt Wild
Bill Tyner
Ruth Perdew
Loie Daily
Pottery Shack
Kurt Kurt Wild
Tuesday, November 23, 2010
James and Nan McKinnell
by Thomas Turnquist
Pottery collectors view the work of James and Nan McKinnell as an important part of
of America's ceramic art history over the past fifty years. The McKinnells high standing
among collectors is based upon three major areas of contribution. First, the work producd
by Jim and Nan has been consisent and strong during their long partnership. The work has
always exhibited a near perfect balance of artist and artisan. The second major area
of contribution was teaching and ceramic education. The legacy and knowledge bestowed
by the McKinnells is nothing short of amazing. They have been a vital part of the diversity
and richness that pemeated ceramic education from the 1950s through the late1980s. Third,
the McKinnells provided the the ceramic commumity with improvements in kiln design. In
1950s they constucted soft-brick kilns. The were multi-chambered with the unique
advantage of being portable because the bricks were not joined by mortor. Jim and Nan,
in addition to kiln design, completed much reach om glazes and clay bodies.
The McKinnells are viewed by collectors and ceramic historians as major catalysts in
American clay. They, with such ceramic giants like the Heinos, the Scheiers, Glen Lukens,
and Harding Black have built the foundation for ceramic arts and hastened the acceptance
of clay as an art form by the art community.
Jim and Nan McKinnell provided to the collector work that was well designed, well thought
through, beautiful, and reflected their huge respect for the medium. They made many
strides forward, and each stride was accomplished with grace and dignity. Jim passed
away. Nan resides in Fort Collins Colorado.
PS
Jim McKinnell was my best man when Denise and I married. He will always be the "Best" man.
by Thomas Turnquist
Pottery collectors view the work of James and Nan McKinnell as an important part of
of America's ceramic art history over the past fifty years. The McKinnells high standing
among collectors is based upon three major areas of contribution. First, the work producd
by Jim and Nan has been consisent and strong during their long partnership. The work has
always exhibited a near perfect balance of artist and artisan. The second major area
of contribution was teaching and ceramic education. The legacy and knowledge bestowed
by the McKinnells is nothing short of amazing. They have been a vital part of the diversity
and richness that pemeated ceramic education from the 1950s through the late1980s. Third,
the McKinnells provided the the ceramic commumity with improvements in kiln design. In
1950s they constucted soft-brick kilns. The were multi-chambered with the unique
advantage of being portable because the bricks were not joined by mortor. Jim and Nan,
in addition to kiln design, completed much reach om glazes and clay bodies.
The McKinnells are viewed by collectors and ceramic historians as major catalysts in
American clay. They, with such ceramic giants like the Heinos, the Scheiers, Glen Lukens,
and Harding Black have built the foundation for ceramic arts and hastened the acceptance
of clay as an art form by the art community.
Jim and Nan McKinnell provided to the collector work that was well designed, well thought
through, beautiful, and reflected their huge respect for the medium. They made many
strides forward, and each stride was accomplished with grace and dignity. Jim passed
away. Nan resides in Fort Collins Colorado.
PS
Jim McKinnell was my best man when Denise and I married. He will always be the "Best" man.
Superb Studio Pottery Great Pottery
James and Nan McKinnell
by Thomas Turnquist
Pottery collectors view the work of James and Nan McKinnell as an important part of
of America's ceramic art history over the past fifty years. The McKinnells high standing
among collectors is based upon three major areas of contribution. First, the work producd
by Jim and Nan has been consisent and strong during their long partnership. The work has
always exhibited a near perfect balance of artist and artisan. The second major area
of contribution was teaching and ceramic education. The legacy and knowledge bestowed
by the McKinnells is nothing short of amazing. They have been a vital part of the diversity
and richness that pemeated ceramic education from the 1950s through the late1980s. Third,
the McKinnells provided the the ceramic commumity with improvements in kiln design. In
1950s they constucted soft-brick kilns. The were multi-chambered with the unique
advantage of being portable because the bricks were not joined by mortor. Jim and Nan,
in addition to kiln design, completed much reach om glazes and clay bodies.
The McKinnells are viewed by collectors and ceramic historians as major catalysts in
American clay. They, with such ceramic giants like the Heinos, the Scheiers, Glen Lukens,
and Harding Black have built the foundation for ceramic arts and hastened the acceptance
of clay as an art form by the art community.
Jim and Nan McKinnell provided to the collector work that was well designed, well thought
through, beautiful, and reflected their huge respect for the medium. They made many
strides forward, and each stride was accomplished with grace and dignity. Jim passed
away. Nan resides in Fort Collins Colorado.
PS
Jim McKinnell was my best man when Denise and I married. He will always be the "Best" man.
by Thomas Turnquist
Pottery collectors view the work of James and Nan McKinnell as an important part of
of America's ceramic art history over the past fifty years. The McKinnells high standing
among collectors is based upon three major areas of contribution. First, the work producd
by Jim and Nan has been consisent and strong during their long partnership. The work has
always exhibited a near perfect balance of artist and artisan. The second major area
of contribution was teaching and ceramic education. The legacy and knowledge bestowed
by the McKinnells is nothing short of amazing. They have been a vital part of the diversity
and richness that pemeated ceramic education from the 1950s through the late1980s. Third,
the McKinnells provided the the ceramic commumity with improvements in kiln design. In
1950s they constucted soft-brick kilns. The were multi-chambered with the unique
advantage of being portable because the bricks were not joined by mortor. Jim and Nan,
in addition to kiln design, completed much reach om glazes and clay bodies.
The McKinnells are viewed by collectors and ceramic historians as major catalysts in
American clay. They, with such ceramic giants like the Heinos, the Scheiers, Glen Lukens,
and Harding Black have built the foundation for ceramic arts and hastened the acceptance
of clay as an art form by the art community.
Jim and Nan McKinnell provided to the collector work that was well designed, well thought
through, beautiful, and reflected their huge respect for the medium. They made many
strides forward, and each stride was accomplished with grace and dignity. Jim passed
away. Nan resides in Fort Collins Colorado.
PS
Jim McKinnell was my best man when Denise and I married. He will always be the "Best" man.
GREAT POTTER GREAT POTTER DENVER
Ruth S. Perdew-Bio Sketch
Her interest in making pottery began after she took a class in pottery. Her teacher was noted Denver potter Maynard Tischler. She became very interested in learning how to become a
better potter.and make more complicated pots. She contined taking additional classes.
She had a friend who helped her get to the Colorado Potters Guild. She encouraged her
to apply for membership. She was accepted to the Colorado potters Guild. By being
a member, she entitled to you the kilns and all the neessary items for making pots.
During the years she was a member she made and sold many pieces. Most of the creations
were functional in nature.lile bowls, vases. Ruth worked with stoneware.Stoneware was
her chice of clay bodies. She was a vital clay artist who contributed much to denver clay.
She remains very interested in pottery and clay.
Ruth was also a noted piano teacher in Denver for over twenty years.
Her interest in making pottery began after she took a class in pottery. Her teacher was noted Denver potter Maynard Tischler. She became very interested in learning how to become a
better potter.and make more complicated pots. She contined taking additional classes.
She had a friend who helped her get to the Colorado Potters Guild. She encouraged her
to apply for membership. She was accepted to the Colorado potters Guild. By being
a member, she entitled to you the kilns and all the neessary items for making pots.
During the years she was a member she made and sold many pieces. Most of the creations
were functional in nature.lile bowls, vases. Ruth worked with stoneware.Stoneware was
her chice of clay bodies. She was a vital clay artist who contributed much to denver clay.
She remains very interested in pottery and clay.
Ruth was also a noted piano teacher in Denver for over twenty years.
McKinnel Pottery
James and Nan McKinnell
by Thomas Turnquist
Pottery collectors view the work of James and Nan McKinnell as an important part of
of America's ceramic art history over the past fifty years. The McKinnells high standing
among collectors is based upon three major areas of contribution. First, the work producd
by Jim and Nan has been consisent and strong during their long partnership. The work has
always exhibited a near perfect balance of artist and artisan. The second major area
of contribution was teaching and ceramic education. The legacy and knowledge bestowed
by the McKinnells is nothing short of amazing. They have been a vital part of the diversity
and richness that pemeated ceramic education from the 1950s through the late1980s. Third,
the McKinnells provided the the ceramic commumity with improvements in kiln design. In
1950s they constucted soft-brick kilns. The were multi-chambered with the unique
advantage of being portable because the bricks were not joined by mortor. Jim and Nan,
in addition to kiln design, completed much reach om glazes and clay bodies.
The McKinnells are viewed by collectors and ceramic historians as major catalysts in
American clay. They, with such ceramic giants like the Heinos, the Scheiers, Glen Lukens,
and Harding Black have built the foundation for ceramic arts and hastened the acceptance
of clay as an art form by the art community.
Jim and Nan McKinnell provided to the collector work that was well designed, well thought
through, beautiful, and reflected their huge respect for the medium. They made many
strides forward, and each stride was accomplished with grace and dignity. Jim passed
away. Nan resides in Fort Collins Colorado.
PS
Jim McKinnell was my best man when Denise and I married. He will always be the "Best" man.
by Thomas Turnquist
Pottery collectors view the work of James and Nan McKinnell as an important part of
of America's ceramic art history over the past fifty years. The McKinnells high standing
among collectors is based upon three major areas of contribution. First, the work producd
by Jim and Nan has been consisent and strong during their long partnership. The work has
always exhibited a near perfect balance of artist and artisan. The second major area
of contribution was teaching and ceramic education. The legacy and knowledge bestowed
by the McKinnells is nothing short of amazing. They have been a vital part of the diversity
and richness that pemeated ceramic education from the 1950s through the late1980s. Third,
the McKinnells provided the the ceramic commumity with improvements in kiln design. In
1950s they constucted soft-brick kilns. The were multi-chambered with the unique
advantage of being portable because the bricks were not joined by mortor. Jim and Nan,
in addition to kiln design, completed much reach om glazes and clay bodies.
The McKinnells are viewed by collectors and ceramic historians as major catalysts in
American clay. They, with such ceramic giants like the Heinos, the Scheiers, Glen Lukens,
and Harding Black have built the foundation for ceramic arts and hastened the acceptance
of clay as an art form by the art community.
Jim and Nan McKinnell provided to the collector work that was well designed, well thought
through, beautiful, and reflected their huge respect for the medium. They made many
strides forward, and each stride was accomplished with grace and dignity. Jim passed
away. Nan resides in Fort Collins Colorado.
PS
Jim McKinnell was my best man when Denise and I married. He will always be the "Best" man.
Monday, November 22, 2010
Great Studio Pottery In Colorado
James and Nan McKinnell
by Thomas Turnquist
Pottery collectors view the work of James and Nan McKinnell as an important part of
of America's ceramic art history over the past fifty years. The McKinnells high standing
among collectors is based upon three major areas of contribution. First, the work producd
by Jim and Nan has been consisent and strong during their long partnership. The work has
always exhibited a near perfect balance of artist and artisan. The second major area
of contribution was teaching and ceramic education. The legacy and knowledge bestowed
by the McKinnells is nothing short of amazing. They have been a vital part of the diversity
and richness that pemeated ceramic education from the 1950s through the late1980s. Third,
the McKinnells provided the the ceramic commumity with improvements in kiln design. In
1950s they constucted soft-brick kilns. The were multi-chambered with the unique
advantage of being portable because the bricks were not joined by mortor. Jim and Nan,
in addition to kiln design, completed much reach om glazes and clay bodies.
The McKinnells are viewed by collectors and ceramic historians as major catalysts in
American clay. They, with such ceramic giants like the Heinos, the Scheiers, Glen Lukens,
and Harding Black have built the foundation for ceramic arts and hastened the acceptance
of clay as an art form by the art community.
Jim and Nan McKinnell provided to the collector work that was well designed, well thought
through, beautiful, and reflected their huge respect for the medium. They made many
strides forward, and each stride was accomplished with grace and dignity. Jim passed
away. Nan resides in Fort Collins Colorado.
PS
Jim McKinnell was my best man when Denise and I married. He will always be the "Best" man.
by Thomas Turnquist
Pottery collectors view the work of James and Nan McKinnell as an important part of
of America's ceramic art history over the past fifty years. The McKinnells high standing
among collectors is based upon three major areas of contribution. First, the work producd
by Jim and Nan has been consisent and strong during their long partnership. The work has
always exhibited a near perfect balance of artist and artisan. The second major area
of contribution was teaching and ceramic education. The legacy and knowledge bestowed
by the McKinnells is nothing short of amazing. They have been a vital part of the diversity
and richness that pemeated ceramic education from the 1950s through the late1980s. Third,
the McKinnells provided the the ceramic commumity with improvements in kiln design. In
1950s they constucted soft-brick kilns. The were multi-chambered with the unique
advantage of being portable because the bricks were not joined by mortor. Jim and Nan,
in addition to kiln design, completed much reach om glazes and clay bodies.
The McKinnells are viewed by collectors and ceramic historians as major catalysts in
American clay. They, with such ceramic giants like the Heinos, the Scheiers, Glen Lukens,
and Harding Black have built the foundation for ceramic arts and hastened the acceptance
of clay as an art form by the art community.
Jim and Nan McKinnell provided to the collector work that was well designed, well thought
through, beautiful, and reflected their huge respect for the medium. They made many
strides forward, and each stride was accomplished with grace and dignity. Jim passed
away. Nan resides in Fort Collins Colorado.
PS
Jim McKinnell was my best man when Denise and I married. He will always be the "Best" man.
Ruth Perdew Pottery
Ruth S. Perdew-Bio Sketch
Her interest in making pottery began after she took a class in pottery. Her teacher was noted Denver potter Maynard Tischler. She became very interested in learning how to become a
better potter.and make more complicated pots. She contined taking additional classes.
She had a friend who helped her get to the Colorado Potters Guild. She encouraged her
to apply for membership. She was accepted to the Colorado potters Guild. By being
a member, she entitled to you the kilns and all the neessary items for making pots.
During the years she was a member she made and sold many pieces. Most of the creations
were functional in nature.lile bowls, vases. Ruth worked with stoneware.Stoneware was
her chice of clay bodies. She was a vital clay artist who contributed much to denver clay.
She remains very interested in pottery and clay.
Ruth was also a noted piano teacher in Denver for over twenty years.
Her interest in making pottery began after she took a class in pottery. Her teacher was noted Denver potter Maynard Tischler. She became very interested in learning how to become a
better potter.and make more complicated pots. She contined taking additional classes.
She had a friend who helped her get to the Colorado Potters Guild. She encouraged her
to apply for membership. She was accepted to the Colorado potters Guild. By being
a member, she entitled to you the kilns and all the neessary items for making pots.
During the years she was a member she made and sold many pieces. Most of the creations
were functional in nature.lile bowls, vases. Ruth worked with stoneware.Stoneware was
her chice of clay bodies. She was a vital clay artist who contributed much to denver clay.
She remains very interested in pottery and clay.
Ruth was also a noted piano teacher in Denver for over twenty years.
Sunday, November 21, 2010
Denver Potters
James and Nan McKinnell
by Thomas Turnquist
Pottery collectors view the work of James and Nan McKinnell as an important part of
of America's ceramic art history over the past fifty years. The McKinnells high standing
among collectors is based upon three major areas of contribution. First, the work producd
by Jim and Nan has been consisent and strong during their long partnership. The work has
always exhibited a near perfect balance of artist and artisan. The second major area
of contribution was teaching and ceramic education. The legacy and knowledge bestowed
by the McKinnells is nothing short of amazing. They have been a vital part of the diversity
and richness that pemeated ceramic education from the 1950s through the late1980s. Third,
the McKinnells provided the the ceramic commumity with improvements in kiln design. In
1950s they constucted soft-brick kilns. The were multi-chambered with the unique
advantage of being portable because the bricks were not joined by mortor. Jim and Nan,
in addition to kiln design, completed much reach om glazes and clay bodies.
The McKinnells are viewed by collectors and ceramic historians as major catalysts in
American clay. They, with such ceramic giants like the Heinos, the Scheiers, Glen Lukens,
and Harding Black have built the foundation for ceramic arts and hastened the acceptance
of clay as an art form by the art community.
Jim and Nan McKinnell provided to the collector work that was well designed, well thought
through, beautiful, and reflected their huge respect for the medium. They made many
strides forward, and each stride was accomplished with grace and dignity. Jim passed
away. Nan resides in Fort Collins Colorado.
PS
Jim McKinnell was my best man when Denise and I married. He will always be the "Best" man.
by Thomas Turnquist
Pottery collectors view the work of James and Nan McKinnell as an important part of
of America's ceramic art history over the past fifty years. The McKinnells high standing
among collectors is based upon three major areas of contribution. First, the work producd
by Jim and Nan has been consisent and strong during their long partnership. The work has
always exhibited a near perfect balance of artist and artisan. The second major area
of contribution was teaching and ceramic education. The legacy and knowledge bestowed
by the McKinnells is nothing short of amazing. They have been a vital part of the diversity
and richness that pemeated ceramic education from the 1950s through the late1980s. Third,
the McKinnells provided the the ceramic commumity with improvements in kiln design. In
1950s they constucted soft-brick kilns. The were multi-chambered with the unique
advantage of being portable because the bricks were not joined by mortor. Jim and Nan,
in addition to kiln design, completed much reach om glazes and clay bodies.
The McKinnells are viewed by collectors and ceramic historians as major catalysts in
American clay. They, with such ceramic giants like the Heinos, the Scheiers, Glen Lukens,
and Harding Black have built the foundation for ceramic arts and hastened the acceptance
of clay as an art form by the art community.
Jim and Nan McKinnell provided to the collector work that was well designed, well thought
through, beautiful, and reflected their huge respect for the medium. They made many
strides forward, and each stride was accomplished with grace and dignity. Jim passed
away. Nan resides in Fort Collins Colorado.
PS
Jim McKinnell was my best man when Denise and I married. He will always be the "Best" man.
Another Studio Pottery A Fine Potter
Gene Lang
By Thomas Turnquist
Gene Lang was a Denver studio potter from 1963 to 1989. Has was a supurb
clay artist. While he was completing his Ph.D in electrical engineering,
Lang designed a pottery wheel for his wife and tried potting after
seeing his wiiife at the wheel. He was hooked..He worked in clay for twenty-six years.
His early work was a mixture of both functional and sculptural. As time passed,
he moved to mostly functional work in order to meet the demands of
supplying twelve galleris. Lang's vessel forms are famous for multi-loop handles.
The greatest influence on Lang came from ceramic legends Don Rietz and Paul Soldner.
He developed a kiln that could be fired with the reduction time short enough
to commence after a day of developing space experiments and
antennas, thrn allowingthe kiln to be shut down by bedtime.
He also taught advaced throwing techniques.
His work was signed Lang.
.
By Thomas Turnquist
Gene Lang was a Denver studio potter from 1963 to 1989. Has was a supurb
clay artist. While he was completing his Ph.D in electrical engineering,
Lang designed a pottery wheel for his wife and tried potting after
seeing his wiiife at the wheel. He was hooked..He worked in clay for twenty-six years.
His early work was a mixture of both functional and sculptural. As time passed,
he moved to mostly functional work in order to meet the demands of
supplying twelve galleris. Lang's vessel forms are famous for multi-loop handles.
The greatest influence on Lang came from ceramic legends Don Rietz and Paul Soldner.
He developed a kiln that could be fired with the reduction time short enough
to commence after a day of developing space experiments and
antennas, thrn allowingthe kiln to be shut down by bedtime.
He also taught advaced throwing techniques.
His work was signed Lang.
.
Studio Pottery Voulkos
Politics and Clay
Thomas Turnquist
Americans are losing control of their lives. The Federal govenment wants to control
our daily moves. We are moving to a point where the state can and will monitor all
forms of art including clay. Potters will be told how much clay can we use and how we use
clay in general. Art monitors will deem something good or evil. Potters will be forced
to prove that the clay objects are a good thing for the America and not a drain on
any resource.
Clay objects will be gender friendly. Clay shall be free of any hint of oppression.
Potters will be banned from purchasing clay materials that
are sold to create vessels that foster anger in men. The clay police will
have the power to filter out any sexist vessel form that may have a long
term impact, such as dreams about conservative talk show
hosts Glenn Beck or Dick Morris. No pottery studio can sell work
that is not in tune with Al Gore. Who would not be in tune with a
soul who has made millions of dollars hawking green dreams.
How does Gore explain the all that jet fuel he consumes?
America has a long and proud tradition in the field of pottery and
stoneware. A tradion that goes back more than three hundred
years. A period rooted in trial and error and huge success and
not based on gender. Art police were not an issue. Where
will this manic push to set standards stop? Will inane
government robots have control of taste? Prisons for
those who are convicted for not going the way of the
government standard
Thomas Turnquist
Americans are losing control of their lives. The Federal govenment wants to control
our daily moves. We are moving to a point where the state can and will monitor all
forms of art including clay. Potters will be told how much clay can we use and how we use
clay in general. Art monitors will deem something good or evil. Potters will be forced
to prove that the clay objects are a good thing for the America and not a drain on
any resource.
Clay objects will be gender friendly. Clay shall be free of any hint of oppression.
Potters will be banned from purchasing clay materials that
are sold to create vessels that foster anger in men. The clay police will
have the power to filter out any sexist vessel form that may have a long
term impact, such as dreams about conservative talk show
hosts Glenn Beck or Dick Morris. No pottery studio can sell work
that is not in tune with Al Gore. Who would not be in tune with a
soul who has made millions of dollars hawking green dreams.
How does Gore explain the all that jet fuel he consumes?
America has a long and proud tradition in the field of pottery and
stoneware. A tradion that goes back more than three hundred
years. A period rooted in trial and error and huge success and
not based on gender. Art police were not an issue. Where
will this manic push to set standards stop? Will inane
government robots have control of taste? Prisons for
those who are convicted for not going the way of the
government standard
Saturday, November 20, 2010
Studio Pottery Studio Pottery
Seeking Colorado Pottery
Seeking Denver pottery
Seeking pots by Ruth Perdew
Seeking Bill Tyner Pottery
Seeking Denver pottery
Seeking pots by Ruth Perdew
Seeking Bill Tyner Pottery
Studio Pottery
Looking for Studio Pottery
Studio Pottery By Ruth Perdew, Don Glasgow, and Bill Tyner
Perdew Pottery
Studio Pottery By Ruth Perdew, Don Glasgow, and Bill Tyner
Perdew Pottery
Don and Joan Glasgow
Don Glasgow got his start in clay at the University of Northern Colorado in 1964
when he was majoring in art at the University of Northern Colorado. He was
required to take a ceramics class. Once he got his hands dirty, there was to turning back.
While attending College, they would have student art shows and sales. After making
a few sales and some money at pottery he realized there was a furure in
selling pottery. Enough money was made at that time tp purchase air
conditioner for a care we had.When I started throwing on a kick wheel
I realized just maybe I could do this
In about 1972 Joan decided to give it a whirl.
After all, she said she had the best teacher around.
Don says she is the best student.
The shows started in college.and then soon after entered the first
competition at the Denver Art Museum. They accepted a covered
casserole. I did that show for a few years after that. We began
entering other competive shows such as Larimer Square, the AAUM show
in Greekey. One show Don entered in Lakewood, he also entered his water
colors. He won best of show.
Other shows: Breckenridge, Snownass, Golden, Littleton, Greeley
Art in the Park, Scottsbliff, Kansas City, San Francisco.
Don built his first kiln while still at college. Don also built an electric
kiln that you do reduction firing while working on his Masters Degree.
He also helped built a kiln for the Denver Potter's Guild. He built
his wheel while in college. The Glasgows were major figures during
their years in Denver.
Don Glasgow got his start in clay at the University of Northern Colorado in 1964
when he was majoring in art at the University of Northern Colorado. He was
required to take a ceramics class. Once he got his hands dirty, there was to turning back.
While attending College, they would have student art shows and sales. After making
a few sales and some money at pottery he realized there was a furure in
selling pottery. Enough money was made at that time tp purchase air
conditioner for a care we had.When I started throwing on a kick wheel
I realized just maybe I could do this
In about 1972 Joan decided to give it a whirl.
After all, she said she had the best teacher around.
Don says she is the best student.
The shows started in college.and then soon after entered the first
competition at the Denver Art Museum. They accepted a covered
casserole. I did that show for a few years after that. We began
entering other competive shows such as Larimer Square, the AAUM show
in Greekey. One show Don entered in Lakewood, he also entered his water
colors. He won best of show.
Other shows: Breckenridge, Snownass, Golden, Littleton, Greeley
Art in the Park, Scottsbliff, Kansas City, San Francisco.
Don built his first kiln while still at college. Don also built an electric
kiln that you do reduction firing while working on his Masters Degree.
He also helped built a kiln for the Denver Potter's Guild. He built
his wheel while in college. The Glasgows were major figures during
their years in Denver.
Friday, November 19, 2010
Denver Studio Pottery
James and Nan McKinnell
by Thomas Turnquist
Pottery collectors view the work of James and Nan McKinnell as an important part of
of America's ceramic art history over the past fifty years. The McKinnells high standing
among collectors is based upon three major areas of contribution. First, the work producd
by Jim and Nan has been consisent and strong during their long partnership. The work has
always exhibited a near perfect balance of artist and artisan. The second major area
of contribution was teaching and ceramic education. The legacy and knowledge bestowed
by the McKinnells is nothing short of amazing. They have been a vital part of the diversity
and richness that pemeated ceramic education from the 1950s through the late1980s. Third,
the McKinnells provided the the ceramic commumity with improvements in kiln design. In
1950s they constucted soft-brick kilns. The were multi-chambered with the unique
advantage of being portable because the bricks were not joined by mortor. Jim and Nan,
in addition to kiln design, completed much reach om glazes and clay bodies.
The McKinnells are viewed by collectors and ceramic historians as major catalysts in
American clay. They, with such ceramic giants like the Heinos, the Scheiers, Glen Lukens,
and Harding Black have built the foundation for ceramic arts and hastened the acceptance
of clay as an art form by the art community.
Jim and Nan McKinnell provided to the collector work that was well designed, well thought
through, beautiful, and reflected their huge respect for the medium. They made many
strides forward, and each stride was accomplished with grace and dignity. Jim passed
away. Nan resides in Fort Collins Colorado.
PS
Jim McKinnell was my best man when Denise and I married. He will always be the "Best" man.
by Thomas Turnquist
Pottery collectors view the work of James and Nan McKinnell as an important part of
of America's ceramic art history over the past fifty years. The McKinnells high standing
among collectors is based upon three major areas of contribution. First, the work producd
by Jim and Nan has been consisent and strong during their long partnership. The work has
always exhibited a near perfect balance of artist and artisan. The second major area
of contribution was teaching and ceramic education. The legacy and knowledge bestowed
by the McKinnells is nothing short of amazing. They have been a vital part of the diversity
and richness that pemeated ceramic education from the 1950s through the late1980s. Third,
the McKinnells provided the the ceramic commumity with improvements in kiln design. In
1950s they constucted soft-brick kilns. The were multi-chambered with the unique
advantage of being portable because the bricks were not joined by mortor. Jim and Nan,
in addition to kiln design, completed much reach om glazes and clay bodies.
The McKinnells are viewed by collectors and ceramic historians as major catalysts in
American clay. They, with such ceramic giants like the Heinos, the Scheiers, Glen Lukens,
and Harding Black have built the foundation for ceramic arts and hastened the acceptance
of clay as an art form by the art community.
Jim and Nan McKinnell provided to the collector work that was well designed, well thought
through, beautiful, and reflected their huge respect for the medium. They made many
strides forward, and each stride was accomplished with grace and dignity. Jim passed
away. Nan resides in Fort Collins Colorado.
PS
Jim McKinnell was my best man when Denise and I married. He will always be the "Best" man.
Studio Pottery
Looking for Voulkos era studio pottery. Pots from the 50s
Also McKinnell and and Ruth Perdew
Don and Joan Glasgow
Don Glasgow got his start in clay at the University of Northern Colorado in 1964
when he was majoring in art at the University of Northern Colorado. He was
required to take a ceramics class. Once he got his hands dirty, there was to turning back.
While attending College, they would have student art shows and sales. After making
a few sales and some money at pottery he realized there was a furure in
selling pottery. Enough money was made at that time tp purchase air
conditioner for a care we had.When I started throwing on a kick wheel
I realized just maybe I could do this
In about 1972 Joan decided to give it a whirl.
After all, she said she had the best teacher around.
Don says she is the best student.
The shows started in college.and then soon after entered the first
competition at the Denver Art Museum. They accepted a covered
casserole. I did that show for a few years after that. We began
entering other competive shows such as Larimer Square, the AAUM show
in Greekey. One show Don entered in Lakewood, he also entered his water
colors. He won best of show.
Other shows: Breckenridge, Snownass, Golden, Littleton, Greeley
Art in the Park, Scottsbliff, Kansas City, San Francisco.
Don built his first kiln while still at college. Don also built an electric
kiln that you do reduction firing while working on his Masters Degree.
He also helped built a kiln for the Denver Potter's Guild. He built
his wheel while in college. The Glasgows were major figures during
their years in Denver.
Also McKinnell and and Ruth Perdew
Don and Joan Glasgow
Don Glasgow got his start in clay at the University of Northern Colorado in 1964
when he was majoring in art at the University of Northern Colorado. He was
required to take a ceramics class. Once he got his hands dirty, there was to turning back.
While attending College, they would have student art shows and sales. After making
a few sales and some money at pottery he realized there was a furure in
selling pottery. Enough money was made at that time tp purchase air
conditioner for a care we had.When I started throwing on a kick wheel
I realized just maybe I could do this
In about 1972 Joan decided to give it a whirl.
After all, she said she had the best teacher around.
Don says she is the best student.
The shows started in college.and then soon after entered the first
competition at the Denver Art Museum. They accepted a covered
casserole. I did that show for a few years after that. We began
entering other competive shows such as Larimer Square, the AAUM show
in Greekey. One show Don entered in Lakewood, he also entered his water
colors. He won best of show.
Other shows: Breckenridge, Snownass, Golden, Littleton, Greeley
Art in the Park, Scottsbliff, Kansas City, San Francisco.
Don built his first kiln while still at college. Don also built an electric
kiln that you do reduction firing while working on his Masters Degree.
He also helped built a kiln for the Denver Potter's Guild. He built
his wheel while in college. The Glasgows were major figures during
their years in Denver.
Great Studio Potters
Ruth S. Perdew-Bio Sketch
Her interest in making pottery began after she took a class in pottery. Her teacher was noted Denver potter Maynard Tischler. She became very interested in learning how to become a
better potter.and make more complicated pots. She contined taking additional classes.
She had a friend who helped her get to the Colorado Potters Guild. She encouraged her
to apply for membership. She was accepted to the Colorado potters Guild. By being
a member, she entitled to you the kilns and all the neessary items for making pots.
During the years she was a member she made and sold many pieces. Most of the creations
were functional in nature.lile bowls, vases. Ruth worked with stoneware.Stoneware was
her chice of clay bodies. She was a vital clay artist who contributed much to denver clay.
She remains very interested in pottery and clay.
Ruth was also a noted piano teacher in Denver for over twenty years.
Her interest in making pottery began after she took a class in pottery. Her teacher was noted Denver potter Maynard Tischler. She became very interested in learning how to become a
better potter.and make more complicated pots. She contined taking additional classes.
She had a friend who helped her get to the Colorado Potters Guild. She encouraged her
to apply for membership. She was accepted to the Colorado potters Guild. By being
a member, she entitled to you the kilns and all the neessary items for making pots.
During the years she was a member she made and sold many pieces. Most of the creations
were functional in nature.lile bowls, vases. Ruth worked with stoneware.Stoneware was
her chice of clay bodies. She was a vital clay artist who contributed much to denver clay.
She remains very interested in pottery and clay.
Ruth was also a noted piano teacher in Denver for over twenty years.
Politics and Clay
Thomas Turnquist
Americans are losing control of their lives. The Federal govenment wants to control
our daily moves. We are moving to a point where the state can and will monitor all
forms of art including clay. Potters will be told how much clay can we use and how we use
clay in general. Art monitors will deem something good or evil. Potters will be forced
to prove that the clay objects are a good thing for the America and not a drain on
any resource.
Clay objects will be gender friendly. Clay shall be free of any hint of oppression.
Potters will be banned from purchasing clay materials that
are sold to create vessels that foster anger in men. The clay police will
have the power to filter out any sexist vessel form that may have a long
term impact, such as dreams about conservative talk show
hosts Glenn Beck or Dick Morris. No pottery studio can sell work
that is not in tune with Al Gore. Who would not be in tune with a
soul who has made millions of dollars hawking green dreams.
How does Gore explain the all that jet fuel he consumes?
America has a long and proud tradition in the field of pottery and
stoneware. A tradion that goes back more than three hundred
years. A period rooted in trial and error and huge success and
not based on gender. Art police were not an issue. Where
will this manic push to set standards stop? Will inane
government robots have control of taste? Prisons for
those who are convicted for not going the way of the
government standards.
Thomas Turnquist
Americans are losing control of their lives. The Federal govenment wants to control
our daily moves. We are moving to a point where the state can and will monitor all
forms of art including clay. Potters will be told how much clay can we use and how we use
clay in general. Art monitors will deem something good or evil. Potters will be forced
to prove that the clay objects are a good thing for the America and not a drain on
any resource.
Clay objects will be gender friendly. Clay shall be free of any hint of oppression.
Potters will be banned from purchasing clay materials that
are sold to create vessels that foster anger in men. The clay police will
have the power to filter out any sexist vessel form that may have a long
term impact, such as dreams about conservative talk show
hosts Glenn Beck or Dick Morris. No pottery studio can sell work
that is not in tune with Al Gore. Who would not be in tune with a
soul who has made millions of dollars hawking green dreams.
How does Gore explain the all that jet fuel he consumes?
America has a long and proud tradition in the field of pottery and
stoneware. A tradion that goes back more than three hundred
years. A period rooted in trial and error and huge success and
not based on gender. Art police were not an issue. Where
will this manic push to set standards stop? Will inane
government robots have control of taste? Prisons for
those who are convicted for not going the way of the
government standards.
Don Glasgow Pottery
Don and Joan Glasgow
Don Glasgow got his start in clay at the University of Northern Colorado in 1964
when he was majoring in art at the University of Northern Colorado. He was
required to take a ceramics class. Once he got his hands dirty, there was to turning back.
While attending College, they would have student art shows and sales. After making
a few sales and some money at pottery he realized there was a furure in
selling pottery. Enough money was made at that time tp purchase air
conditioner for a care we had.When I started throwing on a kick wheel
I realized just maybe I could do this
In about 1972 Joan decided to give it a whirl.
After all, she said she had the best teacher around.
Don says she is the best student.
The shows started in college.and then soon after entered the first
competition at the Denver Art Museum. They accepted a covered
casserole. I did that show for a few years after that. We began
entering other competive shows such as Larimer Square, the AAUM show
in Greekey. One show Don entered in Lakewood, he also entered his water
colors. He won best of show.
Other shows: Breckenridge, Snownass, Golden, Littleton, Greeley
Art in the Park, Scottsbliff, Kansas City, San Francisco.
Don built his first kiln while still at college. Don also built an electric
kiln that you do reduction firing while working on his Masters Degree.
He also helped built a kiln for the Denver Potter's Guild. He built
his wheel while in college. The Glasgows were major figures during
their years in Denver.
Don Glasgow got his start in clay at the University of Northern Colorado in 1964
when he was majoring in art at the University of Northern Colorado. He was
required to take a ceramics class. Once he got his hands dirty, there was to turning back.
While attending College, they would have student art shows and sales. After making
a few sales and some money at pottery he realized there was a furure in
selling pottery. Enough money was made at that time tp purchase air
conditioner for a care we had.When I started throwing on a kick wheel
I realized just maybe I could do this
In about 1972 Joan decided to give it a whirl.
After all, she said she had the best teacher around.
Don says she is the best student.
The shows started in college.and then soon after entered the first
competition at the Denver Art Museum. They accepted a covered
casserole. I did that show for a few years after that. We began
entering other competive shows such as Larimer Square, the AAUM show
in Greekey. One show Don entered in Lakewood, he also entered his water
colors. He won best of show.
Other shows: Breckenridge, Snownass, Golden, Littleton, Greeley
Art in the Park, Scottsbliff, Kansas City, San Francisco.
Don built his first kiln while still at college. Don also built an electric
kiln that you do reduction firing while working on his Masters Degree.
He also helped built a kiln for the Denver Potter's Guild. He built
his wheel while in college. The Glasgows were major figures during
their years in Denver.
PERDEW POTTERY
Ruth S. Perdew-Bio Sketch
Her interest in making pottery began after she took a class in pottery. Her teacher was noted Denver potter Maynard Tischler. She became very interested in learning how to become a
better potter.and make more complicated pots. She contined taking additional classes.
She had a friend who helped her get to the Colorado Potters Guild. She encouraged her
to apply for membership. She was accepted to the Colorado potters Guild. By being
a member, she entitled to you the kilns and all the neessary items for making pots.
During the years she was a member she made and sold many pieces. Most of the creations
were functional in nature.lile bowls, vases. Ruth worked with stoneware.Stoneware was
her chice of clay bodies. She was a vital clay artist who contributed much to denver clay.
She remains very interested in pottery and clay.
Ruth was also a noted piano teacher in Denver for over twenty years.
Her interest in making pottery began after she took a class in pottery. Her teacher was noted Denver potter Maynard Tischler. She became very interested in learning how to become a
better potter.and make more complicated pots. She contined taking additional classes.
She had a friend who helped her get to the Colorado Potters Guild. She encouraged her
to apply for membership. She was accepted to the Colorado potters Guild. By being
a member, she entitled to you the kilns and all the neessary items for making pots.
During the years she was a member she made and sold many pieces. Most of the creations
were functional in nature.lile bowls, vases. Ruth worked with stoneware.Stoneware was
her chice of clay bodies. She was a vital clay artist who contributed much to denver clay.
She remains very interested in pottery and clay.
Ruth was also a noted piano teacher in Denver for over twenty years.
Subscribe to:
Posts (Atom)