American Bonsai Potters

Thanks everyone for all the input! I've secured the domain name and started setting up the page via a hosting site. It'll be a little while before the page is ready for prime time, but I've already started pulling some information together.

For each potter entry I plan to feature: a brief bio, location, examples of work (paired with trees if possible), website, and specialties (color-change glazes, carving work, minis, etc). Any thing else to include?

I'm still mulling over the menu headings, but I plan to list vendors, list of potter links for quick access, pottery signature/stamp resource page, upcoming events/shows, and a contact section. I'm hopeful that I can source pictures and biographical information (for the deceased) from the bonsai community. Pictures will be properly attributed to the authors (if submitted from a community member). Apparently the National Arboretum has a collection of pots, so I plan to hit them up to see if I can gain access and document the collection.

I'm still in the extremely early phases of developing this project. I'm open to any and all suggestions. I'm footing the cost of the site, but I want it to be for everyone to enjoy and utilize.
 
thams said:
Thanks everyone for all the input! I've secured the domain name and started setting up the page via a hosting site. It'll be a little while before the page is ready for prime time, but I've already started pulling some information together.

For each potter entry I plan to feature: a brief bio, location, examples of work (paired with trees if possible), website, and specialties (color-change glazes, carving work, minis, etc). Any thing else to include?

I'm still mulling over the menu headings, but I plan to list vendors, list of potter links for quick access, pottery signature/stamp resource page, upcoming events/shows, and a contact section. I'm hopeful that I can source pictures and biographical information (for the deceased) from the bonsai community. Pictures will be properly attributed to the authors (if submitted from a community member). Apparently the National Arboretum has a collection of pots, so I plan to hit them up to see if I can gain access and document the collection.

I'm still in the extremely early phases of developing this project. I'm open to any and all suggestions. I'm footing the cost of the site, but I want it to be for everyone to enjoy and utilize.
Click to expand...

The National Arb. has a stunning collection of pots. I got access to them a while back when Warren Hill was curator. A lot of donated Japanese, Chinese and American pots. I'm sure more have been added. Not sure of how to get access to them now though.

This book (it's over 10 years old now) takes the same approach you are with American and European potters. I have a copy if you want to borrow it
http://artofbonsai.org/forum/viewtopic.php?t=2488

As for Vin's question about what makes great Western or American pot, that's been covered in many other pot threads. Bottom line is physically handling a lot of pots, Japanese, Chinese, western. In picking them up and handling them you begin to notice detail, proportions, glazes (and in a lot of Western pots) inadequacies. Western potters who have been at it for more than ten years tend to "get it" with proportions, shapes and details such as how to incorporate structural integrity without being clunky, and how to use appropriate glazes appropriately. Generally potters take 5-10 years to get to develop a decent "eye" and feel for bonsai. Potters who don't "do" bonsai take much longer and tend to burn themselves out quickly.

And finally, Some potters NEVER get that their work is subordinate to a tree. They will say that a pot that "screams" is artistic license. Beware those potters...They don't understand bonsai.
 
While I like some of the textural things people do to make pots interesting AND SELL, they ruin the pots functionality. A pot has to work with a tree for many years. Some of these pots being made now with barbed wire, pine needles, pressed in bark texture, combed surface and cracked earth are impossible to clean and made to look good before a show. Especially if you have any sort of minerals in your water.
 
rockm said:
The National Arb. has a stunning collection of pots. I got access to them a while back when Warren Hill was curator. A lot of donated Japanese, Chinese and American pots. I'm sure more have been added. Not sure of how to get access to them now though.

This book (it's over 10 years old now) takes the same approach you are with American and European potters. I have a copy if you want to borrow it
http://artofbonsai.org/forum/viewtopic.php?t=2488

As for Vin's question about what makes great Western or American pot, that's been covered in many other pot threads. Bottom line is physically handling a lot of pots, Japanese, Chinese, western. In picking them up and handling them you begin to notice detail, proportions, glazes (and in a lot of Western pots) inadequacies. Western potters who have been at it for more than ten years tend to "get it" with proportions, shapes and details such as how to incorporate structural integrity without being clunky, and how to use appropriate glazes appropriately. Generally potters take 5-10 years to get to develop a decent "eye" and feel for bonsai. Potters who don't "do" bonsai take much longer and tend to burn themselves out quickly.

And finally, Some potters NEVER get that their work is subordinate to a tree. They will say that a pot that "screams" is artistic license. Beware those potters...They don't understand bonsai.
Click to expand...

I'm going to beg my way into photographing the collection. I'll volunteer my time to help clean up trash, clean bathrooms, mop the floor - whatever will help me gain access. That book looks really helpful - I might try to pick up a copy for myself.

I also plan to reach out to every club I possibly can to gather potter info. It's exhausting just thinking about it...
 
I'd be happy to let you photograph some of my 'Mericun pots. I've got Dale Cochoy, Sara Rayner, Don Gould, and a few others I can't remember at this point.
 
Here's the list I have so far. Keep the names coming!

Aron Beckley (Santa Cruz, CA)
Ben Gutman (Washington, DC)
Brett Thomas (Media, PA)
Byron Myrick (Moselle, MS)
Chuck Iker (Batavia, OH)
Cindy Day (Middletown, NY)
Dale Cochoy (Hartville, OH)
Dave Lowman (Kelley IA)
David Bennett (Girard, PA)
Diane Thoman (Dinosaur, CO)
Dick Ryerson
Don Gould (Pittsburgh, PA)
Dorris Ogg (Norfolk, VA)
Eagleville Bonsai – Jack Hoover (Riverton, RI)
Fred Aufschlage (Bernardsville, PA)
Gary Wood (Muscle Shoals, AL)
Gayle Fiato (Shushan, NY)
Girard Eckhoff (Jackson, NJ)
Jack Bacus (East Alton, IL)
Jake Oxnard (Tampa, FL)
Jan Rentenaar (Warren, OR)
Jim Barrett (Arcadia, CA)
Jim Gremel (Occidental, CA)
Jonathan Cross (Tempe, AZ)
Kanehiro Hamajima (San Jose, CA)
Karen Schuman (Glenview, IL)
Keith Taylor (Fairfield, CA)
Ken To
Kit Ruseau (Silver Spring, MD)
Linda Ippel (Grand Rapids, MI)
Lookout Mountain Pottery – Mark Issenberg (Rising Fawn, GA)
Lynn August (NC)
Matt Castle (Brooklyn, NY)
Matthew Harhager (East Canton, OH)
Max Braverman (WA)
MC2 Pottery - Michele and Charles Smith (Cosby TN)
Michael Hagedorn (retired potter)
Michael Thiedeman (Richmond, IN)
Michelle Dougherty
Mike Viljak
Nancy Chipps (St. Paul, MN)
Nick Lenz (MA) (retired potter)
Nite Owl Studios - John Cannon (Paducah, KY)
Nitju Clayworks – Ross Adams (PA)
Paul Katich (Jacksonville, FL)
Paul Olson (Riverside, RI)
Pauline Muth
Preston Tolbert (Old Fort, NC)
Randy Davis
Randy Doughty (State College, PA)
Richard Robertson (ME)
Rob Addonizio (Lake Helen, FL)
Rob MacGregor (Clermont County, OH)
Rockport Pottery (Rockport, ME)
Ron Lang (NC)
Roy Minarai (Greenville, SC)
Sam Miller (UT)
Sandi McFarland (Irving, TX)
Sara Rayner (Red Wing, MN)
Sharon Edwards-Russell
Sharon Muth (WA)
Shawn Bokeno (OH)
Richard “Sonny” Boggs (Winston Salem, NC)
Stephanie Walker
Steven Ziebarth (Cleveland, OH)
Tom Diming (SC)
Vicki Chamberlain
Waldo Street Pottery – Eli Akins (Atlanta, GA)
William Bodenhamer (Townson, MD)
William Smith (Cosby, TN)
Zachery Dunn (Syracuse, NY)
 
rockm said:
I'd be happy to let you photograph some of my 'Mericun pots. I've got Dale Cochoy, Sara Rayner, Don Gould, and a few others I can't remember at this point.
Click to expand...

Yes, I will definitely need photos - it would be most helpful if you could provide some. Whenever you can spare the time send them along. Obviously I would prefer decent head-on, level shots of the pot to showcase the shape, glaze, texture, and all that good stuff. I'll PM you my email address again in case you don't have it.
 
Grant Hamby said:
I can submit photos for Rayner, Bokeno, Waldo Street, MacGregor, and Ippel if you need any.
Click to expand...

Absolutely, see my reply above to rockm. I'll PM you my email address. If you'd prefer to post them here then I can also copy them to my desktop. Please provide whatever photo credit you would like me to use on the website. Thanks!
 
thams said:
Yes, I will definitely need photos - it would be most helpful if you could provide some. Whenever you can spare the time send them along. Obviously I would prefer decent head-on, level shots of the pot to showcase the shape, glaze, texture, and all that good stuff. I'll PM you my email address again in case you don't have it.
Click to expand...

Most are under a foot of frozen mulch now ;-) I'll see what I can do though.
 
rockm said:
And finally, Some potters NEVER get that their work is subordinate to a tree. They will say that a pot that "screams" is artistic license. Beware those potters...They don't understand bonsai.
Click to expand...
I would say there is room for "screaming" pots. Don't think it really equates to the artist not understanding bonsai. I think the loudest pots I have ever seen are by renowned Japanese potters. You certainly don't have to purchase anything you don't like though.

Smoke said:
While I like some of the textural things people do to make pots interesting AND SELL, they ruin the pots functionality. A pot has to work with a tree for many years. Some of these pots being made now with barbed wire, pine needles, pressed in bark texture, combed surface and cracked earth are impossible to clean and made to look good before a show. Especially if you have any sort of minerals in your water.
Click to expand...
well... I would argue there is true functionality like actually holding your tree, keeping it alive, draining well, not spalling and exploding in the winter. then there is the aesthetic factor of wether it is show worthy or not - which would include it's ability to clean up I suppose.

What can I say? To each his own - some like to smoke pot and look at trees, others like to smoke trees and look at pots.
 
Last edited:
Solange said:
I would say there is room for "screaming" pots. Don't think it really equates to the artist not understanding bonsai. I think the loudest pots I have ever seen are by renowned Japanese potters. You certainly don't have to purchase anything you don't like though.


well... I would argue there is true functionality like actually holding your tree, keeping it alive, draining well, not spalling and exploding in the winter. then there is the aesthetic factor of wether it is show worthy or not - which would include it's ability to clean up I suppose.

What can I say? To each his own - some like to smoke pot and and look at trees, others like to smoke trees and look at pots.
Click to expand...

Those "screaming" Japanese pots are made for collectors who never use them for actual trees. I have a few myself.

Those containers are all about "showing off" rather than functionality. Nothing wrong with that, but using a screamer with a tree is a problem for the tree and for the pot. Those pots are mostly too small to use anyway and mostly unaffordable.
 
rockm said:
Those "screaming" Japanese pots are made for collectors who never use them for actual trees. I have a few myself.

Those containers are all about "showing off" rather than functionality. Nothing wrong with that, but using a screamer with a tree is a problem for the tree and for the pot. Those pots are mostly too small to use anyway and mostly unaffordable.
Click to expand...

So, it's really up to the taste of the person displaying the tree and whether you agree with that taste, than whether making loud pots is a tell of a bad potter? If so, I agree.
 
Solange said:
So, it's really up to the taste of the person displaying the tree and whether you agree with that taste, than whether making loud pots is a tell of a bad potter? If so, I agree.
Click to expand...
Nope. Bad potters mostly make loud pots. It's easier, takes less skill, just like a cheap suit. I've found over the years that the louder the pot produced by western potters, the less skill goes into making it. underneath the glaring or shiny half assed glazes are pots with uneven thin walls and bottoms. Drain holes that trap water inside the pot, etc.

Also taste is taste, but some taste is bad. Sounds elitist and assholey, but there it is.
 
rockm said:
Nope. Bad potters mostly make loud pots. It's easier, takes less skill, just like a cheap suit. I've found over the years that the louder the pot produced by western potters, the less skill goes into making it. underneath the glaring or shiny half assed glazes are pots with uneven thin walls and bottoms. Drain holes that trap water inside the pot, etc.

Also taste is taste, but some taste is bad. Sounds elitist and assholey, but there it is.
Click to expand...
Alright haha
 
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