The 6th Mid-Atlantic Clay
By Polly Beach
Reprinted with permission from the January/February 2006 issue of
Clay Times magazine, www.claytimes.com, 1-800-356-2529.
For the sixth time since 1995, members of the Clay Connection, a
Washington, DC area clay guild, volunteered their time and energy
to produce what has become a very professional and successful
biennial clay conference. A non-profit organization registered in the
Commonwealth of Virginia, The Clay Connection was established in
1991 to promote clay arts in the metropolitan DC area.
Held in late October 2005, at the scenic 4-H Conference Center in the Bill Van Gilder at the Mid Atlantic
mountains of Front Royal, Virginia, the four-day event offered Conference, photo by Rex Looney
everything from mini workshops, charitable bowl contributions, a pot
exchange, and live music to an exhibit of participants’ works and an November Program
auction of speakers’ creations to raise money for victims of the Gulf
Coast hurricanes. For the added benefit of participants interested in
Ceramic Art Using
a bit of extra pampering, an on-site massage therapist was available
throughout the weekend for private massage sessions. Indigenous Clays in the
Vicinity of Arlington,
This year’s slate of guest presenters was headlined by husband-and- Virginia
wife team Neil Patterson and Sandi Pierantozzi of Philadelphia,
Pennsylvania, and Clay Times columnist Bill van Gilder of Gapland, On Tuesday, 08 November 2005, members
Maryland. The three shared the stage and offered simultaneous attended a program at the Lee Art Center to
demonstrations of their techniques before an audience of more than hear a synopsis of Marcia Finnerty’s one-
100 attendees from the East Coast region. year project to locate, test, evaluate, and use
locally dug clay to make ceramic art. This
In essence, the entire event was a sort of retreat for its attendees. project was funded by a $2,500 Individual
Registration fees included room and board in on-site dormitory-style Artist Grant administered by the Arlington
housing, as well as admittance to all of the various activities which Commission for the Arts and hosted by the
took place Thursday through Sunday. Cultural Affairs Division of the Department
of Parks at the Lee Art Center.
The event was officially launched with a wine-and-cheese reception,
hosted by Beth Wiley of Earth and Fire Gallery in Vienna, Virginia, After receiving notification that her grant
and Mike Swauger, whose Kiln Doctor business has been a key application had been approved, Marcia
supporter of the conference since its inception. Finnerty implemented a plan that involved
historical research to determine areas that
A series of several miniature hands-on workshops took place might contain appropriate clay deposits.
throughout the day on Friday. These included everything from After conducting field tests (rolling into a
Ramon Camarillo’s ever-popular raku workshop, held in one of the ball and making an indentation; rolling into a
Center’s outdoor shelters, to Jennie Coffin’s techniques for surface coil and then bending the coil) to determine
decoration and Jane Cullum’s practical approaches to goblet making. plasticity, she selected four sites to serve as
Also on the agenda were sessions on soft porcelain slab vessels by clay sources. The two hillside sites were
Beth Kendall; Joyce Michaud’s “Physics of Throwing” demonstra- located on the NVCC Alexandria Campus
tion, and Bill Schran’s discussion of cone 6 crystalline glazing. and along the GW Parkway in Arlington
Michael Hough led a session on “Building Big”, while DeDe County; the two streambed sites were
Mandrell demonstrated her techniques for working with silver clay. located in Marcey Creek and Pimmit Run.
continued on page 3 contined on page 7
Cracked Pot • Winter 2005/Spring 2006
For What It’s requests for bargaining. Pierantozzi told a Well, not all of the audience was there. “People
story about the Smithsonian Craft Show, are being asked to take pay cuts every day,”
Wor th which, according to its Web site, is “the another audience member, Amy, pointed out.
most prestigious” juried craft show in the “Bargaining and price reductions are common-
By Nancy Udell country. On the last day of the sale one place. That’s the world we live in. Buyers like to
recent year, a potter cut prices in half to shop for sales; they like to get bargains. And
Reprinted with permission from January/ avoid shipping work home. Fellow exhibi- sellers often do reduce prices when it’s in their
February 2006 issue of Clay Times maga- tors were livid. By cutting prices on the last economic interest. Why is that wrong?”
zine, www.claytimes.com, 1-800-356-2529 day, the errant exhibitor sent these messages
to patrons: don’t buy early because the That got me thinking about value.
Would you talk about pricing?” The ques- prices might come down later; don’t take
tion was addressed to presenters Sandi these prices seriously. And this at the During a break, the conversation continued.
Pierantozzi, Neil Patterson, and Bill van Smithsonian of all shows! Amy was on to something. “You’re a lawyer,”
Gilder, as they were making pots on stage she said. “What’s your hourly rate? I could re-
recently at the Clay Connection’s bien- Pierantozzi told another story of a man who ally use your help on this issue, but can you
nial clay conference in Front Royal, Vir- came into her booth and asked, “Can you give me a bit of a break?” It happens all the
ginia. Yes, the presenters would talk do any better on the price for that teapot?” time, she argued. Realtor, can you cut your com-
about pricing; and so, it turned out, could “Yes,” she answered. “I could probably get mission so we can get this deal done? Contrac-
a number of attendees. $350 for this, but because it’s a new form, I tor, is that the best you can do on price? If I buy
decided to start it at this price.” Needless a dozen, can you give me one more for free (the
“Price pots based on how much money to say, his attempt at bargaining failed. famous “baker’s dozen”)?
you need to pay the bills,” van Gilder said.
“How many kiln loads of pots do you Van Gilder echoed the point, urging potters But it’s not true that everyone discounts. Will-
need to make and sell to cover your ex- to raise prices gradually. “It is up to us to ingness to discount is a statement about value.
penses?” He added that what you pro- discover what our customer base believes Tiffany’s does not have clearance sales. And
duce must, of course, play a big part in our work is worth,” he said. He agreed with David Boise doesn’t give volume discounts.
this analysis. “And, don’t be afraid to Pierantozzi: cutting prices after the fact leads (OK, potters, he’s a famous and in-demand trial
undercut the competition in the begin- to sticky issues. lawyer.) Pierantozzi’s pots shout quality from
ning.” When van Gilder was supporting the highest rooftop. There is absolutely noth-
his young family, he used these tech- Most of the audience was with them. After ing markdown about them. Shouldn’t people
niques. all, people commiserated, you wouldn’t be be able to recognize this and stop asking her if
very happy if your boss walked into your the price will go down tomorrow? That got me
Pierantozzi conducts detailed time stud- office and said, “Can you do your job for a thinking about branding.
ies on each of her (exquisite) pots so that little less this week?” You wouldn’t go into
she knows how much time she invests in Hecht’s [department store] and ask whether Protecting the Brand
each piece. Then, she prices accordingly. they can do any better on that pair of shoes.
She also considers if the piece is one-of So don’t do it to potters! Selling work has to be in part about transmit-
or part of a series. She will charge more ting notions of its value to the potential buyer.
for a one-of-a-kind piece because, well, It would be nice if gradations of value were
it’s one-of-a kind. automatically transmitted through our common
aesthetic sense (ah yes, this pot is $15 more
Patterson tries to price based on what the valuable than that one). But conceptions of
market will bear, but begins his pricing value are not transmitted that way. That’s partly
analysis with the time he puts into each because there is not (in my opinion) any exact
piece. intrinsic or Platonic value associated with ev-
ery item. Beauty and value are in the eye of the
“Charge the amount of money that you beholder, especially when it comes to art and
want more than you want the pot,” a craft. But there are things that influence the
sculptor in the audience suggested. An- beholder’s view.
other audience member volunteered that
she tells her students to weigh the pots, Perceptions of value are partly created by brand-
multiply by 15 and then add or subtract ing and marketing, and sales venue is a good
dollars based on their gut reaction to the part of that process. As Patterson tells his stu-
price. Of course this suggestion led to a dents about pricing, see what work is selling in
series of jokes about the benefits of mak- different venues, and where your work might
ing heavy pots. fit in. Just as in real estate, location, location,
and location are very important factors in pric-
Cutting prices ing.
But things really got interesting when we Continued on Page 7
started on the topic of cutting prices and
Cracked Pot • Winter 2005/Spring 2006
“The 6th Mid Atlantic Conference” • When making darted feet,
continued from page1 Pierantozzi says, it is important to
Exhibitors from clay-related businesses maintain the shape of an equilateral
including Highwater Clays, Clayworks triangle. When joining the seams, she
Supplies, The Ceramic Shop, van Gilder presses inward, not downward. Then she
Professional Potters’ Tools, The Kiln lets the foot set up, keeping the top of the
Doctor, Tin Barn Pottery, Mecca Tools, pot covered. She uses templates to cut the
and Clay Times offered their wares in a darts for the feet.
trade show open to attendees throughout
the weekend. • Pierantozzi also uses a cup inside
the form to guide the rim into its nice,
Saturday and Sunday events were devoted round shape. She stuffs the form with
to presentations by van Gilder, dry-cleaning plastic for partial drying.
Pierantozzi, and Patterson, complete with
individual slide shows of their work and • When making her textured works,
personal histories. Following are some of she stamps patterns into the slab first. She
the tips they offered as they demonstrated marks the slab with a template before
their techniques: stamping so as not to cut off the patterns.
• When he cuts a lid or spout off the • Before cutting the darts into her
hump, Patterson makes a second cut just rounded forms, Pierantozzi ‘poofs’ out
below the first to form a clay pad that will the inside to gain a greater sense of
absorb any distortion that takes place Niel Patterson at the Mid Atlantic volume.
during lifting. Conference, photo by Rex Looney
• To get the proper dimension for
• To make his many thrown-and- • Patterson recommends the use of adding a coiled rim to her handbuilt
altered forms, Patterson does a lot of MDO (medium density overlay), an round forms, she measures the top of the
joining. When he does this, he makes exterior grade plywood, as ware boards. pot by wrapping a coil around its circum-
sure the clay is at a ‘hard’ leather-hard ference.
level of dryness. He scores and slips areas • Bill van Gilder offers this hint
to be joined with a lot of thick slip, when trying to soften up commercially
applying pressure to the point where the prepared bags of clay: Drop the block of
slip oozes out to form a thick bond. clay onto the table or floor two or three
times before wedging, which will loosen
up and soften the particles.
• When trimming a series of pots on
a clay pad, van Gilder says it’s important
do the large-diameter pieces first, then
work inward. This way, the trimming
scraps that drop onto the wheelhead will
be prevented from sticking to pot rims.
• To better see the profile of the
pot’s foot when trimming, van Gilder
places a flat wooden board across the top
of the foot. That way, he can see just how
the foot will connect with a flat surface.
• To help freshly-made pots hold
their shape when handling, both van Michael Hough at the Mid Atlantic
Gilder and Pierantozzi use a sheet of Conference, photo by Rex Looney
newspaper to trap air within the form (see
van Gilder’s column on page 43 of the
To learn more about the Clay
January/February 2006 issue for more on
Connection and the Mid-Atlantic Clay
this technique.) Conference, visit the Web site at
Sandi Pierantozzi at the Mid Atlantic
Conference, photo by Rex Looney www.theclayconnection.org.
Cracked Pot • Winter 2005/Spring 2006
Post Office Box 3214
Merrifield, Virginia • 22116-3214
Spring Show and Sale
REGISTER NOW TO RESERVE A SPACE!
DATE: Saturday, May 6, 2006
TIME: 10 A.M. to 5 P.M.
LOCATION: Vienna Community Center
120 Cherry Street, SE, Vienna, VA
Guidelines: The Board of Directors of The Clay Connection has determined the Clay Connection members
who participated in previous
Each participant will have two sales a year we hold should both be high quality pottery and sales will receive $5 off the
one large rectangular table that we should have Studio Clearance Sales only on an occasional, registration fee for this sale*.
to display items. as-needed, basis.
You may bring table- Participation in this sale will make
clothes and display you eligible for the registration
materials to individualize We need to assure maximum attendance to the sale with the room discount in the next Clay
your table. bustling all day with buyers and pots, so we will need assistance Connection Sale.
Tables will be assigned implementing marketing ideas.
randomly. *You are eligible for this discount
The committee requests a if you are a current Clay
head count by April 13. Non-members are welcome to participate. Connection member and you
participated in at least one of
All items should be priced
The Clay Connection’s last two
no less than $5.
Contact: Creationsinclay@msn.com sales (Spring or Fall of 2005).
REGISTRATION FORM Check all that interest you. You will be contacted with final assignments.
There will be morning and afternoon slots.
Name____________________________________________________________________ ______ Affix price tags into notebook
______ Clean up the pottery wheel demo area
Address_________________________________________________________________ ______ Greeter
______ Pottery wheel demo
City, State, Zip _________________________________________________________ ______ Promote at The Clay Connection publicity table
______ Set up and replenish refreshments table
E-mail __________________________________________________________________ Let us know what you can do to help before the safe.
Are you a member of The Clay Connection? (Check one) ______ Distribute posters ______ Marketing implementation
______ Notebook set-up ______ As needed. Please call me.
Yes No I want to join The Clay Connection**
Number of announcement postcards you need: ________
If you wish to have more than 25 postcards, there may be a nominal charge to cover
$55 for members (if registered by April 6, 2006) printing extra cards.
$65 for members (if registered after April 6, 2006)
$75 for non-members Make check payable to “The Clay Connection” and mail to:
Past participants (who are also members) are still eligible for the $5 discount. The Clay Connection Spring Show and Sale
c/o Sheila Ford
**This makes you eligible for the member fee. We will send you membership 5810 Cannon Lane
information. Send additional $35 annual dues to The Clay Connection. Alexandria, VA 22303-1000
Cracked Pot • Winter 2005/Spring 2006
LOCAL STUDIOS lee arts center BILL VAN GILDER
An Intimate Afternoon at his studio,
CLASSES & 5722 Lee Hwy, Arlington VA gallery & school with Lecture & Demon-
WORKSHOPS 703-228-0560 strations. Saturday, April 22 from
www.arlintonarts.org/leearts.htm 10am - 5pm, $75
5707 Smith Ave. Baltimore, Maryland Fountain Making with Herb Weaver
GLEN ECHO POTTERY
21209 7300 MacArthur Blvd., Glen Echo MD
Saturday March 25, 2006; 10:00-4:00 pm
phone:410-578-1919 20812, 301-229-5585,
Join us as Herb shares a variety of
delightful options and insights into the
CLASSES - SESSIONS VARY SEE art of fountain making.
classes.html Workshop with Linda MacFarling
Materials Fee: $40.00 (Payable to
This workshop features master studio
instructor on the first day of class)
WORKSHOPS potter, Linda MacFarling, who will
A Workshop with Kyle & Kelly Phelps: demonstrate throwing, altering and
Alternative Treatment on Ceramic Forms, A Renaissance of Clay and Materials, assembling her work. A reception and
Saturday-Sunday, April 22-23, 10am-4pm Workshop with Alfredo Ratinoff slide show on Friday evening is
This workshop will demonstrate how you 6 weeks, Thursdays, April 5- May followed by the two-day workshop.
can approach surface treatment on 11,2006: 6:30 pm- 9:00 pm April 21, 22 & 23 at Glen Echo Pottery.
ceramic forms outside of using glaze. This comprehensive workshop will cover The $150.00 fee includes breakfast and
Glaze application has an important place medieval techniques and styles for lunch both days.
within the ceramics world, but there are ceramic artist interested in achieving
various finishes beyond traditional glaze
other materials that might be a better
choice to surface your ceramic forms. Hood College 401 Rosemont Ave.,
Fee: $160 members;180 non-member Fee: $220.00
Frederick, MD 21701 301-696-3456 fax
Materials fee: $25.00 (Payable to
Richard Cleaver Slide Lecture instructor on the first day of class)
art clicking on the Ceramics Program.
Friday, April 28, 7 pm
Nationally known Baltimore artist Rick Creative Clay Studios CERAMICS CLASSES
Cleaver shows slides of his work from Beginning, intermediate and advanced
the past ten years emphasizing his use of levels; teens and adults; 6week sessions,
5704-E General Washington Drive
paint and other materials in combination workshops; handbuilding, wheel instruc-
Alexandria Va, 22312
with ceramic. tion, multiplevisiting artists and special
Fee: Free to members; $5.00 non-member topics; electric and gas kilns
NEXT CLASS SESSION
SPRING: March 18 - May 14
THE BOTTLE FORM
Learn to throw bottles with Ed & Gail
Workshop offered twice for your
Thursday, March 23 from 6pm ? 10pm
Thursday, April 13 from 12pm - 4pm
$35 for Creative Clay Community/ $40
for all others
Three opportunities currently scheduled
to Raku your pots with us:
Tuesday, March 28, Sunday, April 9
A selectionof work by Patterson at the Tuesday, April 18 (naked raku &
The “Kiln Doctor” Mike Swauger at the
Mid Atlantic Conference, photo by Rex sgraffito only)
Mid Atlantic Conference, photo by Rex
Looney 11am to 3pm $50 (base price)
Cracked Pot • Winter 2005/Spring 2006
CLASSES & Clay Connection June Monthly. More information on her
workshops, lectures, and private
Program instruction is available on her web site
MANASSAS CLAY (www.jayneshatzpottery.com).
9122 Center Street Large Scale Vessel Making: The Tradi- Free for members; $15 for non-mem-
Manassas, Virginia 20110 tional Japanese Fire Technique Using a bers.
(703) 330-1040 Contemporary Blowtorch, featuring Jayne
Other Recent Programs
CLASSES Join us at 1 pm in the Creative Clay Studios
Session 4: June 4 - July 29 on Sunday, 04 June 2006, when Jane Shatz
Holiday Party & December Program
Session 5: August 13 - October 7 uses a contemporary blowtorch to demon-
strate the traditional Japanese fire tech-
Jayne Shatz Pottery nique for creating large scale vessels. This
Over 50 people attended our Holiday
stimulating workshop will provide new
Jayne Shatz Pottery Studio Party at the home of Bath Kendall to
alternatives to an ancient pottery technique
www.jayneshatzpottery.com share a variety of foods and hear about
for the contemporary artist potter.
Contact at email@example.com or call 410- Terry Gess’ journey in clay. Gess will be
757-6351 for information on location. a participant in Reston’s Northern
Jayne Shatz recently moved to Arnold,
Virginia Fine Arts Festival on 20 and 21
Maryland, after a successful thirty-year
CERAMIC WORKSHOP May 2006. Be sure to stop by his booth
ceramic career based in Albany, New York.
Environmental Ceramics and Glazes - if you plan to attend. January Program
This award-winning potter has exhibited
Adorning Your World in Clay - How to (Glaze Making) Thirteen members
her environmental sculpture, wall reliefs,
Create Tiled Tables, Wall Murals and learned how to mix their own glazes
large-scale vessels, and functional pottery
Decorative Garden Ware” during our popular workshop led by
in galleries throughout New England.
Level of instruction-Beginning to Marianne Cordyack. If you are interested
Advanced, English only in participating a repeat of this workshop
She has a PhD in Prehistoric Ceramics, a
July 15 & 16, 2006 later this summer, call her at 703-860-
Masters degree in Pottery and Sculpture,
9:30 am- 3:30 pm. each day 1476 to get your name on the waiting list.
and an undergraduate degree from the State
Fee is $100.00 University of New York at Albany. Her
February Program (Phil Berneberg)
articles have been published in Ceramics
March 2006 Program
Barbara Wagner 703-503-9037, Fairfax High School Student Clay On Saturday, 04 March 2006, fellow
Station, VA. 22039 firstname.lastname@example.org Competition & Exhibit member and ceramic engineer Phil
Berneberg led an open discussion about
TILE MAKING AND HANDBUILDING The Clay Conneciton will be sponsoring solutions to some very common prob-
CLASSES its High School Student Clay Competition lems: black coring, bloating, cracking,
10 – 3 hour classes beginning Friday, & Exhibit (17 to 25 May 2006). crazing, rim cracks, s-cracks, shivering,
June 2, 2006; M-W-F June 5 – 23, 2006. split joints, swelling, and warping, to
Beginning to Intermediate. 25 lb. bag of The Northern Virginia Community name a few.
clay, glazes and firing included. $200.00. College (NVCC) will host this event in its
Tyler Teaching Gallery (301 North Many of these problems can be corrected
A Brief Message from Beauregard Street, Alexandria, VA 22311- by following those directions our instruc-
the Editor 5987). tors repeated to us over and over during
Roberta Couver is on sabbatical for those first pottery classes: compression
reasons of “input overload” and did not We will offer a program pertinent to a (the bottom), compression (the walls),
submit an article this issue. Roberta has clay career immediately following the compreesion (the rim). Slowly drying
come in for more than a fair amount of awards ceremony (Finding Your Voice each piece and proper firing also help.
criticism the last year and this writer has featuring Beth Kendall).
been critical as well. In her defense, For more information on correcting these
Roberta has worked very hard to take The Please join us on Thursday, 25 May 2006, problems, consider attending one of
Clay Connection beyond the coffee klatch for the Closing Reception (6 pm) followed Berneberg’s classes or seminars at the
that could. So I say, deal with it or run for by the Awards Ceremony (7 pm) as we Glen Echo Pottery
office. There is an election coming up recognize the best of student ceramics in (www.glenechopottery.com) or at Hood
and, by the way, there is an editor here the northern Virginia area. College (www.hood.edu/academic/art)
that would love to be deposed.
Russ Witt Cracked Pot • Winter 2005/Spring 2006
“For What its Worth” “November Program” Cont. from Page 1
Continued from Page 2 Once sites were selected, she obtained P.O. Box 3214
Imagine the same pot sitting in three dif- and dried clay samples, pounded and Merrifield, VA 22116-3214
ferent places: On a crowded table at a clear- sieved dry clay into a powder; added http://www.theclayconnection.org
ance sale; on a nicely lit shelf in a mid- water to produce a slurry, air-dried the The Clay Connection is a nonprofit organization
range gallery; and in a booth at the slurry to a working consistency; made of potters mainly from the Washington D.C. met-
Smithsonian Craft Show. You know very test tiles; test fired each clay sample; ropolitan area. Members range from beginners to
well which can most easily support the performed measurements; calculated hobbyists to full time professionals who work in a
highest price. And that’s why marked- broad range of styles. The organization offers pro-
results; and made clay objects using a grams designed to provide its members educational
down pots at the Smithsonian Craft Show variety of forming methods (e.g., coil; and networking opportunities.
feel so very destructive to the other par-
extrusion; pinch; press mold; slab; and Board Members
ticipants. It’s damaging the brand.
The Smithsonian brand has been built up Roberta Couver (703)731-9808
over the years to scream “top of the line.” She enlisted the aid of several local
Vice President For Programs
One person’s act of marking down the professionals (geologist; naturalist; Marianne Cordyack
work is a powerful indicator to customers photographer) as well as scouts from
Vice President For Membership
that perhaps this brand is not exactly what Brownie Troop #5618 and students from Marianne Cordyack (interim)
they thought it was. The work might not the Ceramics Program at the Washington-
really be worth it. Maybe they should Lee High School (under the leadership of Jane Holtje
haggle a bit. our fellow-member Joan Bickelhaupt).
Major corporations have entire depart- The project’s accomplishments included
Members at Large
ments devoted to brand management. developing alternative test tile design; Donna Downing
Even Harvard University and other Ivies, evaluating shrinkage, warping, porosity, Steve Gammicchia
according to a recent New Yorker piece, Helen Hensgen
and color; determining the best forming
spend a lot of time during the admissions method for a clay body; acquiring Past President
process making sure that a Harvard Man Sheila Ford
technical skills; and discovering beautiful
or Woman has the potential to live up to clays to use as decorative slips. Administrative
the brand and thus keep it strong—so According to her lessons learned, always Hospitality
strong that people will pay top dollar to Debby Barger
collect more clay than you think you’ll
get a Harvard degree.
need; age the clay after it is developed Internet Resources
into a working consistency and before Roberta Couver
So I say more power to potters and other
artists who value their work highly and beginning to work on obtaining test Lending Library
results to increase its plasticity; and Caroline Brinkman
want the public to understand that value.
If markdowns send the wrong message, during testing and experimenting, use the Newsletter
materials in new ways. email@example.com
by all means, don’t mark down. Build up
your brand. But remember van Gilder’s Nominating
advice—raise prices slowly. A strong advocate of sharing the Vacant
knowledge, Marcia has provided a copy Internal Publicity
And a tip from the lawyer in me: vendors of her presentation to our organization. Edie Adam
(at the Smithsonian Craft Show, for ex- Check our web site at Volunteer Coordinator
ample) cannot get together and agree that www.programs.theclayconnection.org to Helen Hengen
no one will mark down any ware on the see the presentation in its entirety. Organizational Representatives
last day of the show. That would be an
illegal agreement affecting price. But the Join the Clay Connection! Artisans United
Smithsonian can, and perhaps should,
make a rule that no markdowns are allowed Participate in our workshops/sales, Empty Cultural Alliance of Greater Washington
Bowls Charity benefit, clay conference, and vacant
at its venue. After all, they have to protect
the brand. Remember, at high-end retail- other events. Meet other potters and Committee Chairs
ers like Tiffany’s, things never go on sale. receive our newsletter. All skill levels
welcome. The membership year begins in Empty Bowls 2006
(Unless, of course, the items are very Vacant
light—in which case they would be almost October and the annual dues are $35. Mail
to Clay Connection c/o Marianne Mid-Atlantic Clay Conference 2007
free to begin with.) Vacant
Cordyack, 11432 Tanbark Dr., Reston, VA
20191. Call Marianne (703)860-1476 or High School Student
Nancy Udell is a lawyer and a potter email her at firstname.lastname@example.org, if Clay Competition & Exhibit
who lives in Maryland. She and her you would like more information. Steve Gammicchia
husband are moving to Santa Fe, New Spring Clearance Sale
Mexico, where she expects notions of Sheila Ford
value to be very different.
Cracked Pot • Winter 2005/Spring 2006 Holiday Show and Sale
The Cracked Pot Newsletter
c/o The Clay Connection
P.O. Box 3214♦Merrifield, VA 22116-3214
Consolidated —01 June 2006, deadline for submitting Elections
Calendar inputs to the Summer 2006 Cracked Pot
Newsletter Elections will be held later this spring.
—02 April 2006, deadline for submitting (email@example.com) If you might be interested in helping
items for the April board meeting agenda accomplish one of the many tasks
—04 June 2006, deadline for submitting required to keep an organization of
—09 April 2006, Board Meeting items for the next board meeting agenda this size performing at this phenom-
enal level, please send an email to
—30 April 2006, deadline for submitting —11 June 2006, Board Meeting firstname.lastname@example.org or call
items for the May board meeting agenda Roberta Couver at 703-731-9808.
—06 May 2006, Spring Show & Sale All volunteers are asked to complete a
Volunteerism is the backbone task appropriate with their skill levels,
—07 May 2006, Board Meeting (one week of our organization. Without interests, and time constraints. In
early due to Mothers Day) the generous donations of time addition, members who serve on the
and talents that our members Board of Directors are asked to attend
—17 to 25 May 2006, High School Student the monthly Board Meetings (always
offer, we would be unable to
Clay Competition & Exhibit held at 12:30 pm on the second
sponsor our many programs. Sunday of each month).
—25 May 2006, Closing Reception and
Awards Ceremony for the High School As an added bonus, meetings are
Student Clay Competition & Exhibit Volunteering is easy: contact often scheduled during mealtime, and
our Volunteer Coordinator, our volunteers seldom walk away
—25 May 2006, Program featuring Beth Helen Hensgen, at 703-524-7630 hungry!
Kendall and let her know how you
would like to help!!
—04 June 2006, Program featuring Jayne
Cracked Pot • Winter 2005/Spring 2006