Graduate Theses, Dissertations, and Problem Reports 2002 West Virginia University ceramic arts production studio program Jeffrey Stewart Greenham West Virginia University Follow this and additional works at: https://researchrepository.edu/etd Recommended Citation Greenham, Jeffrey Stewart, "West Virginia University ceramic arts production studio program" (2002). Graduate Theses, Dissertations, and Problem Reports.edu/etd/1226 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use.
For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact researchrepository@mail. WEST VIRGINIA UNIVERSITY CERAMIC ARTS PRODUCTION STUDIO PROGRAM JEFFREY S.
GREENHAM Thesis Submitted to the College of Creative Arts At West Virginia University In partial fulfillment of the requirements For the degree of Master of Fine Art In Ceramics Robert Anderson, Committee Chair Professor Sarah Smelser Professor Paul Krainak Professor William Thomas Division of Art College of Creative Arts Morgantown, WV 2002 Keywords: Ceramics, Pottery, Craft, Production, Techniques ABSTRACT WEST VIRGINIA UNIVERSITY CERAMIC ARTS PRODUCTION STUDIO PROGRAM JEFFREY S. GREENHAM This thesis is an analysis of West Virginia University’s ceramic arts production techniques program, its educational impact, and historical importance. TABLE OF CONTENTS ACKNOWLEDGEMENTS - iv INTRODUCTION - 1 PROGRAM DEVELOPMENT - 3 STUDENT PARTICAPATION - 5 INTERFACE WITH TRADITIONAL AND INTERNATIONAL W. DEPARTMENTAL PROGRAMS - 7 HISTORICAL PERSPECTIVE - 10 EDUCATIONAL VALUE OF INCOME GENERATION - 19 W.
/ COLLEGE OF CREATIVE ARTS MISSION ALIGNMENTS - 24 OUTCOME BASED EDUCATIONAL RESULTS - 28 CRITICISM - 32 CHALLENGES - 36 CONCLUSIONS - 38 APPENDIX: A - “Ceramics Department Production Design Center Proposal” - 40 B – About the Author - 46 GLOSSARY - 47 BIBLIOGRAPHY - 48 iii ACKNOWLEDGEMENTS The Author wishes to thank the following for their influence and support towards this project: Dr. Janet Snyder Catherine, Laurie, and David Greenham Professor Robert Anderson Professor Paul Krainak Professor Sarah Smelser Professor William Thomas Dr. Bernard Schultz The W. Ceramics Department Staff and Students West Virginia University Professor Hobart Cowles Dedicated To: Dr.
Greenham (1931 – 1999) For his lifelong commitment to education and creativity; and his unfaltering personal support. iv INTRODUCTION In 1997 West Virginia University's (W.) ceramics department established a Production Studio to offer students real life experience in the tools and demands for running a working ceramics studio. The only department of its kind, the W. Production Studio gives students the hands on experience in working with production techniques which are often utilized by professional studio potters and small production potteries.
The program is devoted to expanding the students’ experience, offering greater preparation to meet the challenges faced by professional studio ceramists in an increasingly competitive marketplace, allowing them the knowledge and ability to more successfully continue working as studio artists and designers following their academic training. In addition to traditional techniques, W.'s well equipped studio offers students experience and understanding in the use of plasters for mold making, and semi automated equipment for production of various items. The Production Techniques Program offers understanding of the unique techniques required to efficiently reproduce designs consistently, through instruction and participation in the department's design, development, and production of items which are marketed and sold. 1 The income generated from the sale of work produced through the Production Studio is reinvested into the department.
Over the course of the last five years that income has helped to pay for assistantships, scholarships, visiting artists, work study opportunities and new equipment. The Production Studio is an integral part of the W. When coupled with the department's large and well equipped facility, general ceramic studies, and the six year old China Exchange program, W. offers one of the most diverse and expansive ceramics education departments in existence.
2 PROGAM DEVELOPMENT Since its beginning the West Virginia University ceramics department has, under the direction of Professor Robert Anderson, been a program which placed high emphasis on functional pottery. Over the years many ceramic programs nation wide have moved their emphasis toward more sculptural issues. It has become clear in the last several years that W.’s commitment to functionally based ideas has made it a leader in programs which offer students educational opportunities to pursue careers as studio potters. 1 In 1996 the ceramics department at W.
received a donation of a used manual profile jigger machine2 from the Homer Laughlin China Co. of Newel, WV. Founded in 1871, Homer Laughlin is the largest domestic pottery employing 1100 skilled workers and most noted as the manufacturer of Fiesta Ware.3 Professor Anderson felt this would be a good educational addition to the program and contacted me in 1997 to act as a consultant and look at possibilities to implement a production techniques program. At that time, a proposal4 was developed by Professor Anderson, Carmon Colangelo, former Division Chair, 1 National Council on the Education of the Ceramic Arts, On site Interviews, 2001, 2002, Conferences, Charlotte, NC; Kansas City, MO 2 Glossary 3 Homer Laughlin Web Site, 2002, http://www.com 4 Appendix A, “Ceramics Department Production and Design Center Project”, (W.) 02/1/97 3 and myself5 to start and operate a ceramics production and design center as a related curriculum and businesses activity within the Division of Art.
This proposal, subsequently lead Sergio Soave, Division Chair, to secure start up funding in the form of a grant from the W. “Production Techniques” was in 1998 officially started as a course and several other necessary pieces of equipment including a second jigger/ jolly machine, de-aring extruder were acquired. The Research Corporation grant was also used to fund a graduate assistantship in the fall of 1999. Since the initial seed money the Production Studio has grown through self sufficient funding generated through two annual studio sales and contract orders.
Funding from these areas has been reinvested into the overall program in the following ways: - Full and part time employment to students - Student scholarship assistance: W.U’s summer ceramics program in China - Additional equipment and material purchases - Offset of visiting artist costs - Student assistance towards National Ceramic conference participation - Departmental promotion 5 Appendix B, About the Author 4 STUDENT PARTICAPATION Since its initiation in 1998 Production Techniques course has not been considered required course work towards degree completion. Undergraduate and Graduate students who choose to take the three credit hours course are introduced to the various equipment, procedures and processes related to a functioning production pottery environment. From start to finish, from clay making to final glaze firing, students are involved with the various methods required to produce the various items that the production studio designs and creates. During their enrollment in the course students are immersed in the activities of pottery production including: - Clay Making - Mold Making - Throwing - Jiggering - Hydraulic pressing - Trimming and Finishing - Loading and Firing of Kilns - Glazing - Packing of Products for Shipment - Sale Preparation and Participation Contact hours are typical of any three credit course and a schedule is developed each semester to evenly distribute student participation throughout each week.
5 Students are expected to come and work during their scheduled time on their varied assignments along side the full and part time employees in the studio. They are trained to understand the correct procedures for the assorted processes and expected to take responsibility for the completion of well crafted items. The course functions much like the long standing tradition of a typical apprenticeship, where the student is given more responsibility as he/she has shown comprehension of the preceding assignments. 6 INTERFACE WITH TRADITIONAL AND INTERNATIONAL W.
DEPARTMENTAL PROGRAMS West Virginia University's Ceramics program places a strong emphasis on traditional pottery making and the techniques and skills required for students to be sound versatile artist/potters. The program is studio oriented, encouraging students to form strong design sensibilities and mastery of skills that are associated with strong work ethic and active studio participation. Students are expected to be knowledgeable about historic and contemporary ceramic techniques and trends as well as achieve an understanding of ceramic art history and the implications it has on their own sensibilities. The curriculum stresses the importance for students on all levels to understand the function of all studio-related equipment.
Students are expected to be involved in the design and construction of kilns and burners as well as having a command of various firing techniques. In addition to traditional studies the W. ceramics program has, for six years, sponsored an annual summer travel and study program in China. Linkage with Chinese ceramic programs provides students with an opportunity to participate, work and interact with Chinese educators, artisans and students gaining valuable 7 insight and knowledge of various ceramic processes and techniques as well as a historic perspective of the country responsible for the world’s richest ceramic legacy.
An ongoing Chinese visiting artist residency program provides our students with an opportunity for a more in-depth experience of traditional and contemporary technique. Production Techniques Program, as well, has become a significant element within the overall ceramic arts program offering students the opportunity to engage in a studio production program that introduces them to industrial equipment and techniques. Hydraulic press and jigger-jolly machinery6 enables students to learn mold making skills and working knowledge of ceramic producing techniques that are generally associated with industrial ceramic production and often found in professional studios. Students are introduced to these alternative methods of ceramic production that complement strong design sensibilities.
Exposure to various marketing strategies and commissions also provides valuable experience that will assist in the successful operation of private studios. The Production Program’s interface with the general and international ceramic studies programming has additionally become an important component to the over all program through its generation of supplementary funding towards 6 Glossary 8 educational, physical and promotional support. The Production Program has offered additional support opportunities through the Chinese visiting artist residency program by producing many items for students of all levels and non- ceramic disciplines to participate in visiting artist workshops in decoration and carving. The studio has also become an integral component in design and production of various visiting artist projects.
9 HISTORICAL PERSPECTIVE The W. Ceramic arts Production Program is the only one of its kind in this country. My research has identified several programs that are noteworthy for historical comparison and understanding of the uniqueness of the W. program: - Berea College, Berea, KY - Newcomb College, New Orleans, LA - Graphicstudio, University of South Florida, Tampa, FL - The Rutgers Center for Innovative Print and Paper, The State University of New Jersey, New Brunswick, NJ BEREA COLLEGE Currently in the United States the only comparative ceramics program is located at Berea College, Berea, KY.
In 1893 Berea's College President William G. Frost began "Fireside Industries". The initiation of this program added weaving as the first in a line of Appalachian craft revival programs to join the already self-sustaining community, complete with College-operated farms, dairy, bakery, brick factory, hospital, and fire department. This was eventually followed by a woodworking production division developed out of the cabinetry program.
By the mid 1900’s most of Berea’s programs shifted away from its self-sustaining curriculum in agriculture. The "Fireside Industries", however, shifted more toward crafts production for a range of retail markets. The College, in conjunction with the Southern Highland Craft 10 Guild, moved to create a market for quality regional crafts in the traditional sales centers of Berea, Gatlinburg, and Asheville, with expansion including shipments to the entire nation.7 In 1970, Berea's ceramics department became the Ceramic Apprenticeship Program, a formal crossover between classroom and practical work experience.