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Mississippi Public Broadcasting - A Conspiracy To Do Good| The Mississippi Craft Center and The Craftsmen’s Guild of Mississippi

Educator Resource and Activity Guide 1

A Conspiracy To Do Good

The Mississippi Craft Center and The Craftsmen’s Guild

Mississippi Public Broadcasting • Education Services Department

Table of Contents

Introduction ............................................................................................................................................ 2

About the Production ............................................................................................................................. 2

The History .............................................................................................................................................. 3

Tools of Everyday Life .................................................................................................................... 4

Creation of The Craftsmen’s Guild of Mississippi .......................................................................... 4

Promoting Mississippi Craftsmen .................................................................................................. 5

A Permanent Home........................................................................................................................ 5

Folk Art as Fine Art ......................................................................................................................... 6

Timeline................................................................................................................................................... 7

Lesson Activities ...................................................................................................................................... 10

2003 Mississippi Visual and Performing Arts Framework – Ceramics I ......................................... 12

2003 Mississippi Visual and Performing Arts Framework – Ceramics II ........................................ 18

Activity 1 – Ceramics ...................................................................................................................... 25

Activity 2 – Woodturning ............................................................................................................... 27

Activity 3 – Quiz ............................................................................................................................. 30

Quiz Answer Key ............................................................................................................................ 31

Glossary .......................................................................................................................................... 32

Technology Connections & Resources .................................................................................................... 33

The Craftsmen’s Guild of Mississippi Membership

State Map ....................................................................................................................................... 35

Mississippi County Listing .............................................................................................................. 36

Other States Listing ........................................................................................................................ 42





Mississippi Public Broadcasting • Education Services Department

Introduction

Craftsmen have always been a part of the fabric of Mississippi life providing many functional items used

in daily living. The Craftmen’s Guild of Mississippi, Inc., was founded in 1973 as a non-profit

organization of craftsmen and others interested in preserving and promoting the folk, traditional and

contemporary crafts, or three-dimensional art, of Mississippi and in encouraging the highest standard of

excellence in these crafts. The Guild has become a major southeastern influence and continues to

implement its goals through public service projects, continuing education in the arts, special events and

festivals, and sales and marketing of member’s work. The Guild is a member driven organization and

one of the first art organizations established in the state.

The Mississippi Craft Center, operated by The Craftmen’s Guild of Mississippi, is located on the historic

Natchez Trace Parkway in Ridgeland, Mississippi. The 20,000 square foot Mississippi Craft Center

represents over 400 artisans from 19 states and displays exceptional work that has elevated craft to a

fine art. Open year-round, seven days a week, the center is a perfect destination for the art enthusiast

and serves as a meeting and conference site.

About the Production

A Conspiracy To Do Good – The Mississippi Craft Center and The Craftsmen’s Guild of Mississippi is a

half-hour television special produced by Mississippi Public Broadcasting that features the people who

dared to dream and make reality an arts organization that promotes, preserves and fosters Mississippi

craftsmen and their work. The Craftsmen’s Guild of Mississippi today is an economic force that

promotes the state as a whole while focusing in on the artisan and their craft, and is one of only a

handful of member driven arts organizations nationwide.





Tools of Everyday Life

Throughout Mississippi’s history, crafts have been a part of every day life. Native Americans

used their skills to piece together animal skins by hand to make clothing and wind feather and bone

together to make headdresses, necklaces and other ornamental items to distinguish themselves and

their heritage. The art of craft was born out of necessity for survival, as well as identity and artistry.

As early settlers moved into Mississippi, crafts were primarily used for utilitarian purposes and

individuals became known for their skills and techniques in creating items used to help make every day

life easier. Quilts were made for warmth. Baskets were made to carry crops from the field. Blacksmiths

made pans for cooking. Pottery was made to carry water. Once towns and cities started to develop,

there would be a few people employed as master craftsmen. Based on the size of the town, each may

have had a potter, blacksmith, carpenter, and glass blower.

In Europe in the 1700’s, as societies grew and the demand for crafts and other products

increased, machines were developed that could do the same work as craftsmen. For the next 100 years,

these machines became more advanced and eventually took over craftsmen’s jobs. The development of

these machines and factories is called “The Industrial Revolution.”

By the 1940s, the Industrial Revolution had fully hit Mississippi. Parents would no longer teach

their children the craft they had grown up using because there was no longer a demand for handmade

crafts. Instead, parents would encourage their children to begin working in a factory. Over the next 30

years the use of, and appreciation for, handmade crafts quickly died, especially in cities and large towns.

Creation of the Mississippi Craftmen’s Guild

In the early 1970s, the art of crafts would find new champions in the state, as well as the nation.

The National Endowment for the Arts and The Smithsonian Institute were beginning to focus on folk art

and programs that focused on the artistic heritage of crafts. At the same time in Mississippi, research

was being conducted, exhibits were being created and workshops were being held across the state that

showcased Mississippi’s cultural beginnings – its folk life.

In 1973, Governor Bill Waller, an avid patron of the arts, called for a survey of resources for

crafts in Mississippi. Governor Waller was interested in promoting Mississippi crafts and craftsmen, as a

way to improve the state’s reputation and promote Mississippi’s art culture and heritage. He created

the state position of Crafts Coordinator and hired Dan Overly, a young art major at Delta State



University, to fill the position. Overly spent the next few months visiting folk festivals in other states and

talking with members of craft groups in Mississippi to develop a vision based on their desire to have an

umbrella organization that would support and promote their skills. Soon, Dan was collaborating with

the Mississippi Arts Commission, still in its infancy, and Delta State University to host craft workshops,

featuring regionally and nationally known craftsmen. The Mississippi Cooperative Extension service

completed a county-by-county survey of potential craftspeople. Before the year ended, approximately

30 founding members were identified and The Craftsmen’s Guild of Mississippi (Craftsmen’s Guild) was

born. Overly was named the member driven organization’s first Executive Director.

Promoting Mississippi Craftsmen

The recognition of the art of crafts began to grow in 1974 when The Smithsonian Institute

hosted the American Folklife Festival on the mall in Washington, D.C. Researchers from The

Smithsonian traveled all regions of the state identifying Mississippians who were considered true

craftsmen. This research and the appearance of these Mississippians at the festival showed everyone

that the art of craft was very much alive. Mississippi gained respect and appreciation for the quality and

diversity of crafts displayed at the festival.

In 1974, the Craftsmen’s Guild began to organize and promote craft festivals in Mississippi,

including The Pioneer and Indian Festival held in October annually. Soon after, the National Park Service

asked the guild to put on weekend demonstrations at the Craft Center located on the Natchez Trace

Parkway. These first few shows and demonstrations gave the craftsmen an outlet to sell their art and

earn a living, as well as provide the public with a sense of partnership in supporting these craftsmen.

The next year, 1975, the Craftsmen’s Guild’s established its first home site on Brame Road in rural

Madison County. This site served as a studio for many of the founding members and was a place all

members began receiving professional development in how to display and market their crafts. The

Guild also used this site to hold classes and help establish a name for producing graduate level seminars.

When the Guild showed what a draw they were to Natchez Trace visitors during demonstrations, the

National Park Service invited the Guild to maintain a gift shop in a log cabin at Mile Post 102.3 in

Ridgeland. It maintained the gift shop for approximately 30 years.

By 1976, the public’s support for these craftsmen and others across the state had grown

significantly. In December of that year, the Craftsmen’s Guild hosted their first Chimneyville Crafts

Festival. Soon the craftsmen’s clientele lists grew and functional art became fine art and owning a piece

of a Craftsmen’s Guild members’ art was a treasure. Today, this festival is one of the finest in the south,

including being named a Top 20 Event in the Southeast by the Southeast Tourism Society.

A Permanent Home

Three years after the first Chimneyville Crafts Festival, the Craftsmen’s Guild moves from their

first home site in Madison County to the old president’s house on the Millsaps College Campus in



Jackson. At this location, the Craftsmen’s Guild initiates the Chimneyville School of Crafts and Designs.

Supported by the Junior League of Jackson, the Chimneyville School of Crafts and Design gave the Guild

a much higher community profile and allowed the Guild to host children’s summer classes, exhibitions of

contemporary craft shows and the availability of an apartment for use by resident and visiting artists.

In 1987, the Craftsmen’s Guild offices and the Chimneyville School of Crafts and Designs moved

to a log building at the Jim Buck Ross Agriculture and Forestry Museum, off Lakeland Drive in Jackson.

The Guild remained at this location for 20 years, all the while working to secure a permanent home.

In 1994, the Guild worked with members of the Mississippi Legislature in an attempt to secure

funding to build a permanent Mississippi Craft Center in Madison. While the $4 million dollar bond bill

passed in the Senate, it failed to win approval in the House of Representatives. It would take three

more years before the bond bill passed. The Craftsmen’s Guild would spend 10 more years raising an

additional $3.2 million dollars before ground was broken. In June 2007, the Mississippi Craft Center

opened to the public at its new location at 950 Rice Road in Ridgeland.

Folk Art as Fine Art

The mission of the Craftsmen’s Guild of Mississippi is to preserve, promote, market, educate and

encourage the highest standard of excellence in regional crafts. Since it’s inception in 1973, the Guild

has grown to become a powerhouse in preserving contemporary, folk and traditional crafts of

Mississippi and the southern region, while incorporating newer, non-traditional approaches. The guild

has grown from a membership of 30 craftsmen – only two of the original 30 actually earned a living from

the craft – to more than 400 professional artisans from all over the United States. A ten member jury

selects new members twice a year.

Today, more than one hundred fifty thousand people attend guild programs each year where

they encounter working craftsmen and the results of their work. Visitors from all 50 states and 23

countries have made the Mississippi Craft Center “the place to visit and shop during their travel.”





The Craftsmen’s Guild of Mississippi and Mississippi Craft Center Timeline

1973 - Governor William Waller contacts Robert Dan Overly at Delta State University and asks him to

start a statewide arts organization for craftsmen. Dan helps to create and is named Executive Director

the Mississippi Craftsmen’s Guild, which formed with approximately 30 members

1974 - Mississippi Craftsmen’s Guild begins to organize and promote craft festivals in the state, including

The Pioneer and Indian Festival in October

1974 - First Craftsmen’s Guild office located at 301 North Lamar Street, Jackson, Mississippi

1974 - The National Park Service asks the Mississippi Craftsmen’s Guild to put on weekend

demonstrations at the Craft Center on the Natchez Trace Parkway

1974 - Mississippi folk artists are featured at the American Folklife Festival in Washington, D.C. The

Smithsonian Institute sent researches to scout out these first recognized Mississippi craftsmen

1975 - Guild’s first home site on Brame Road in rural Madison County

1976 - December, first Chimneyville Crafts Festival

1979 – Craftsmen’s Guild offices move from Brame Road in Madison County to the old president’s house

on the Millsaps College campus in Jackson, Mississippi

1979 – Chimneyville School of Crafts and Designs begins

1987 - Dan Overly resigns as Executive Director. Marjorie Bates is named Executive Director

1987 - Craftsmen’s Guild offices and Chimneyville School of Crafts and Designs moves to a log building at

the Jim Buck Ross Agriculture and Forestry Museum in Jackson, Mississippi

1987 - Linda Mann is named Executive Director

1990 - Martha Garrett becomes Director of the Mississippi Crafts Center on the Natchez Trace Parkway

and serves as Executive Director of The Mississippi Craftsmen’s Guild



1994 - Mississippi Legislature considers $4 million dollar appropriation to build a Mississippi Craft Center

in Madison, Mississippi. The bill passes in the Mississippi Senate but fails to pass the Mississippi House

of Representatives

1994 – Marjorie Bates is named Executive Director

1995 - Skip Allen is named Executive Director

1996 - Kit Barksdale is named Executive Director

1997 - Mississippi Legislature passes $4 million dollar bond bill to construct the Mississippi Craft Center

1997 - V.A. Patterson is named Executive Director

2002 - Kit Barksdale is named Executive Director

2005 - Julia Daily is named Executive Director

2007 – New Mississippi Craft Center opens at 950 Rice Road, Ridgeland, Mississippi

2010 – October 18, Founding Member Dan Overly passes away





A Conspiracy To Do Good – Powerpoint Presentation

Mississippi Public Broadcasting (MPB) Education Services Division in collaboration with the Mississippi

Craft Center, The Craftsmen’s Guild of Mississippi and Mississippi Master Craftsmen George Berry, Sr.

created a Powerpoint presentation for use in classrooms. This presentation and the speaker’s notes

that correspond to each slide provide teachers an opportunity to share with their students the history of

craft in Mississippi and the events, people and places instrumental in the creation of The Mississippi

Craftsmen’s Guild and The Mississippi Craft Center. To access this Powerpoint presentation, go to

www.mpbonline.org/crafts or www.mscrafts.org.

2003 Mississippi Visual and Performing Arts Framework

The Mississippi Department of Education has included two craft components as part of the 2003

Mississippi Visual and Performing Arts Framework. The following pages contain the framework for High

School Ceramics I and High School Ceramics II.




VISUAL ARTS

HIGH SCHOOL

CERAMICS I

(Proficient)

DESCRIPTION OF PROGRAM OF STUDY:

This high school program of study focuses on knowledge and skills in three-dimensional design

with clay and/or other plastic media. Building on concepts and skills acquired in elementary and middle

level visual arts courses, students continue to increase their knowledge of production, critical analysis,

history and culture, aesthetics, and connections among ceramic arts, other content areas, and everyday

life. Work will be limited primarily to three dimensional media, techniques, and processes. This program

of study is to be used in designing curriculum for high school students in the following course:

Ceramics I

The competencies are printed in bold face type and are required to be taught. Content strands

include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The

competencies may relate to one or more of the content strands and may be combined and taught with

other competencies throughout the school year. Competencies are not listed in order of importance and

may be taught in any order that is determined suitable by the school or district. Competencies provide a

general guideline of ongoing instruction, not isolated units, activities, or skills.

The suggested teaching objectives are optional. Objectives indicate concepts that enable the

fulfillment of competencies, describe competencies in further detail, or show progress of concepts

within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may

write their own objectives that meet or exceed those suggested, based upon needs of the students at

the local level.

For an explanation of the Content Strands, Competencies, and Objectives, see the General

Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General

Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on

line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Visual Arts 115




VISUAL ARTS

HIGH SCHOOL

CERAMICS I

(Proficient)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA)

History/Culture (HC) Aesthetics (A)

Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Apply proficient skills and craftsmanship in selecting and using various techniques and processes to

create and study works in clay. (CP)

a. Create ceramic ware that communicates original ideas using a variety of techniques and

processes.

b. Study a number of ceramic works, both original and by others, as to how the selection of clay

body, technique, or process communicates the overall idea.

c. Practice safety and conservation in the use of tools, materials, and equipment in the creation of

works of ceramics.

d. Explore the use of new technology in art and design while integrating these into their own works.

2. Understand how to select and use the elements of art and principles of design applied through

ceramic techniques and processes related to the communication of meaning. (CP)

a. Integrate visual, spatial, and temporal concepts with subjects, themes, symbols and ideas to

improve communication of intended meaning.

b. Explore the influence of new technology on ceramics production and how it effects

communication of meaning in ceramic works.

3. Understand how ceramic techniques and processes create effects that evoke a range of responses

in works of clay. (CP)

a. Understand that visual effects of ceramics works evoke a range of responses.

b. Understand that effects resulting from the use of ceramic media, techniques, and processes are

factors that affect visual perception.

c. Recognize that the choice of ceramic media, techniques, and processes results from the artist's

thinking about how best to achieve specific effects.

Visual Arts 116




4. Utilize perceptual skills and apply ceramic arts vocabulary to make informed judgments while

creating and studying works of clay. (CA)

a. Effectively use visual arts vocabulary through the processes of speaking or writing when critiquing

own ceramic art or that of others.

b. Recognize and understand visual arts and ceramics vocabulary in written text.

c. Use appropriate visual arts ceramics vocabulary related to technique and processes as work of

ceramics art are created.

d. Utilize the visual and organizational components of art and design while creating

works of ceramic art.

e. Use appropriate visual art and ceramic vocabulary related to technique and process in creating


5. Understand that a wide range of theories of critical analyses exist, and provide valid methods for

studying the characteristics of works of clay. (CA)

a. Examine the work of self and others to determine the intentions of the artist in creating a

particular work in clay.

b. Understand the theories of critical analysis and how they relate to ceramic art.

c. Identify different ways that three-dimensional work in clay provides unique modes for expressing

ideas, actions, and emotions.

6. Know that context is a factor in determining the roles, functions, and purposes of artists, works of

art, and visual arts careers differently according to culture, time, and place. (HC)

a. Examine ways that culture is reflected by the use of technology in the creation of ceramic works

of art.

b. Understand how the context of the artist, the context in which the work of ceramic art is created,

the context of the viewer, and the context in which the work is viewed can be impacted by

technological changes over time.

7. Know universal themes, concepts, forms, and functions that recur in works in clay across cultures,

times, and places. (HC)

a. Identify different ways ceramic artists have conveyed common themes or issues across historical

periods.

b. Discuss how ceramics works of art differ visually, functionally, and by process, and describe how

these difference, relate to history and culture.

c. Investigate the functions of different ceramic works of art in society and the impact on society.

Visual Arts 117




8. Understand how factors of culture, time, and place influence the characteristics of ceramic art and

design. (HC)

a. Relate how factors of culture, times, places, and the ceramic arts influenced each other.

b. Recognize a variety of historical and cultural contexts in terms of characteristics of ceramic works

of art.

c. Compare and contrast characteristics and purposes of similar ceramic works from a variety of

cultures, times, and places.

9. Know different theories of aesthetics. (A)

a. Recognize that broad aesthetic question such as, “What is art?” and “Is ceramics an art or craft?”

b. Know different theories of aesthetics.

10. Analyze how contextual factors affect how people respect, value and derive meaning from ceramic

art. (A)

a. Analyze how the meaning of a specific work of ceramic art might change if it were transported to

another time frame.

b. Investigate how specific images originated in clay works for an intended purpose.

c. Know various individual responses to the characteristics of ceramic work can serve as a means for

interpreting art.

d. Discuss possible meanings of works of ceramic art by examining how specific wares are created

and how they relate to historical and cultural context.

11. Integrate ceramic arts concepts and skills with knowledge in other subject areas to provide

meaningful tools for use in everyday life. (C)

a. Research the roles of contemporary artist/potters in their own community and society.

b. Recognize career options in the ceramic arts.

c. Understand how the study of ceramic arts utilizes knowledge from other subject areas.

12. Understand how common concepts, technologies, and processes of the ceramic arts relate to

those in other subject areas within and outside the arts. (C)

a. Compare and contrast the creative process in clay to that in other content areas.

b. Compare the similarities and differences in the use of technologies and processes of clay with

those of other arts disciplines.

c. Utilize the processes of clay to enhance the study of themes in the humanities, sciences, and

other curricular areas.

Visual Arts 118




High School Ceramics I Comp. Obj. Suggested Teaching Strategies Suggested

Assessment

1

2

3

4

5

1

3

6

7

8

a, c

a

b

a

c

b

b

b

c

b

Students create ceramic ware that communicates

original ideas through pinch, slab, and coil processes.

Students select and use appropriate elements and

principles of design that improve the communication of a

specific idea or concept, function or purpose on a

piece(s) of pottery.

Students select several works to analyze to determine if

form follow function or purpose. Did their work fulfill

their original intentions? Compare finished works to

original sketches. Do the responses from their peers

indicate that they were affected differently than

intended?

After practicing the appropriate techniques for a whole

class critique, students critique ceramic works from a

wide range of contexts (e.g., Mexican, Japanese,

English, African). Emphasize the proper use of

terminology in discussing media, techniques, and

processes.

Students examine a broad range of artworks—both two

and three-dimensional. Determine those instances in

which the three-dimensional characteristics of ceramic

works could uniquely express a similar concept or idea.

Which medium might be most effective? Create a work in

clay to transform an idea previously expressed in two

dimensions.

Students analyze a range of ceramic works from various

times and cultures, then write a short analysis of how a

selected work reflects the culture in which it was created.

Students select a functional ceramic object to research

historically in relation to form, function, and purpose in

three cultures. Outline the data on a research chart

showing change according to time, place, and culture.

Using museum postcards or other small reproductions,

students practice matching objects to categories of culture,

time period, function, or purpose.

Rubric based on

assigned criteria

Rating scale for use in

peer assessment

Student self-

assessment

using a rating scale

Teacher observation

and guided questions

Class Critique of

Objects

Rubric to assess

quality of pottery

Rating scale

Peer assessment using

a rating scale designed

by the class

Teacher guidance

during practice

Written test with

matching or multiple

choice items

Visual Arts 119




High School Ceramics I 9

10

11

12

a

a

a, b

a

In pursuing answers to the question “What is art?”

students debate the issues of art versus craft. When

might one ceramic form be considered art, while another a

craft? What factors influence the way in which people value

ceramic works?

Students investigate various images that occur on

ceramic works across cultures. Research how context

impacts the interpretation of the image in different

locations.

Invite a local or regional ceramic artist to be a guest

speaker. Students interview the artist in relation to the

role they play in the community and in relation to career

options.

Compare the creative process used in making a ceramic

work of art to the writing process and the process of

scientific investigation. Discuss common concepts shared

among ceramics, science, and geography.

Teacher observation

Peer assessment of

team reports using a

rating scale

Student reflections in

writing after artist

leaves

Teacher observation

and guiding questions

Visual Arts 120




VISUAL ARTS

HIGH SCHOOL

CERAMICS II

(Proficient)

DESCRIPTION OF PROGRAM OF STUDY:

This program of study focuses on developing in-depth knowledge and skills in three-dimensional

design with clay and/or other plastic media. Building on introductory level concepts and skills acquired

in the prerequisite course, Ceramics I, students continue to increase their knowledge of wheel thrown

and hand built production, critical analysis, history and culture, aesthetics, and connections among

ceramic arts, other content areas, and everyday life. Work will be limited primarily to three dimensional

media, techniques, and processes. This program of study is to be used in designing curriculum for high

school students in the following course:

Ceramics II

The competencies are printed in bold face type and are required to be taught. Content strands

include Creating/Performing, Critical Analysis, History/Culture, Aesthetics, and Connections. The

competencies may relate to one or more of the content strands and may be combined and taught with

other competencies throughout the school year. Competencies are not listed in order of importance and

may be taught in any order that is determined suitable by the school or district. Competencies provide

a general guideline of ongoing instruction, not isolated units, activities or skills.

The suggested teaching objectives are optional. Objectives indicate concepts that enable the

fulfillment of competencies, describe competencies in further detail, or show progress of concepts

within benchmark grade clusters. School districts may adopt the suggested teaching objectives or may

write their own objectives that meet or exceed those suggested, based upon needs of the students at

the local level.

For an explanation of the Content Strands, Competencies, and Objectives, see the General

Introduction Section of the Mississippi Visual and Performing Arts Framework. The Framework General

Introduction, Literature Connections, Technology Connections, Resources, and Glossary are available on

line at the Mississippi Department of Education web site: http://www.mde.k12.ms.us.

Visual Arts 121




VISUAL ARTS

HIGH SCHOOL

CERAMICS II

(Proficient)

CONTENT STRANDS:

Creating/Performing (CP) Critical Analysis (CA)

History/Culture (HC) Aesthetics (A)

Connections (C)

COMPETENCIES and Suggested Teaching Objectives:

1. Demonstrate competency in selecting and using various ceramic techniques and processes to create

and study works of clay. (CP)

a. Create complex ceramic ware that communicates original ideas using a combination of techniques

and processes.

b. Create a body of ceramic work selecting appropriate clay body and technique to communicate

ideas.

c. Practice safety and conservation in the use of tools, materials, and equipment in the creation of


d. Utilize advanced technology in art and design while integrating these into their own works.

2. Know how to use elements of art and principles of design applied through various ceramics

techniques and processes as they relate to the communication of meaning. (CP)

a. Integrate visual, spatial, and temporal concepts with subjects, themes, symbols, and ideas to

improve communication of intended meanings.

b. Explore advanced techniques such as raku or salt firing in the creation of ceramic ware, casting

and decals.

c. Use appropriate visual arts and ceramic vocabulary as related to technique and processes in

creating works of ceramic art.

Visual Arts 122




3. Select and use various ceramic techniques and processes to create works of clay that evoke a range

of responses. (CP)

a. Understand how artists select ceramic techniques, media, and processes in the creation of

ceramic art to evoke a variety of responses.

b. Analyze artistic intent in own ceramic creations in relation to form, function, and purpose.

c. Understand that ceramic artists use media, techniques, and processes to produce a wide range of

effects that impress viewers differently.

4. Utilize perceptual skills and apply expanded ceramic arts vocabulary to make informed judgments

while creating and studying works of clay. (CA)

a. Effectively use expanded visual arts and ceramics vocabulary when critiquing their own ceramic

art and those of others through the processes of speaking, writing, or reading.

b. Use appropriate visual arts ceramic vocabulary related to new techniques and media as works of

ceramic are created.

c. Demonstrate advanced skill in the use of the visual and organizational components of design

while creating works of ceramic art.

5. Explore and evaluate theories of critical analysis for studying the characteristics of ceramics through

reading, writing, and speaking. (CA)

a. Employ various theories of critical analysis to understand and analyze works in clay.

b. Analyze different ways that three-dimensional works in clay provide unique modes for expressing

ideas, actions, and emotions.

6. Understand the complex functions of artists in society and the impact of the visual arts (e.g., social,

political, economic, religious, individual.) (HC)

a. Differentiate between meanings in works of ceramic art by examining how specific clay works are

created and how they relate to historical and cultural contexts.

b. Compare and contrast the meaning of different ceramic works of art in context to the culture in

which they were created and how meaning might be lost if the contexts were changed.

c. Examine how the context of the artist, the time in which the ceramic ware was created, the

viewer, and the place and time in which it is viewed can impact the interpretation of the ceramic

work of art.

Visual Arts 123




7. Understand how subject matter, symbols, themes, and purposes relate to meaning in works of clay

across cultures, times, and places. (HC)

a. Employ various interpretations of symbols and purposes to understand and analyze works of

ceramic arts.

b. Analyze different ways artists have conveyed common themes or issues across historical periods.

c. Compare how ceramic works of art differ visually, functionally, and by purpose, and describe how

these differences relate to history and culture.

d. Compare and contrast the functions of art in society and the ways the ceramic and three-

dimensional arts have impacted society.

8. Explain how geographic factors impact the characteristics of ceramic art and design. (HC)

a. Determine how factors of culture, time, and place affected the development of ceramic works of

art.

b. Describe the function and explore the meaning of selected ceramic work within various cultures,

times, and places.

c. Analyze characteristics and purposes of ceramics from a variety of cultures, times, and places.

9. Understand different theories of aesthetics. (A)

a. Apply the theories of aesthetics to questions, such as, “What is beauty?” and, “Is ceramics art or

craft?”

b. Analyze different aesthetic perspectives including intention of artists, context, views, and

experience.

10. Begin to recognize contextual factors that influence how an individual respects and values ceramic

art. (A)

a. Determine the origin of possible subjects, themes, symbols, problems, or ideas for use in creating

ceramics for an intended purpose.

b. Analyze how various individual responses to the characteristics of ceramic art can serve as a

means for interpreting that work.

11. Recognize how life decisions, such as career choices, can be influenced by a meaningful integration

of ceramic arts concepts and skills with knowledge in other subject areas. (C)

a. Recognize and understand how and why the arts enhance the quality of life in communities

throughout the world.

b. Analyze how the study of the arts impacts career choices.

Visual Arts 124




12. Distinguish how common concepts, technologies, media, and processes of ceramic arts relate to

those in other subject areas. (C)

a. Compare the characteristics of the visual and performing arts across history, time, and culture.

b. Understand the use of technologies, media, and processes of clay with those of other arts

disciplines.

c. Compare concepts in clay and ceramic art to the themes in the humanities, sciences, or other

curricular areas.

d. Recognize the use of chemistry in the formulation and use of glaze.

Visual Arts 125




High School Ceramics II

Comp.

Obj. Suggested Teaching Strategies Suggested

Assessment

1

2

2

3

4

5

6

7

8

9

a

a

b

a

a

a

c

b

a

a

Students create ceramic ware using pinch, slab, coil,

wheel-thrown and combination methods to express an

idea, fulfill a specific function or purpose.

Students explore the influence of technology on the

production of ceramics. Create works applying some of

the available technological applications.

Students create a work maximizing the characteristics of

the clay medium to create an intended effect. Write a

reflective assessment in relation to success of achieving

the intended impact.

Students individually write a news release describing an

archaeological find. Use visual illustrations from which to

write the releases. Students must use correct art

vocabulary and apply ceramic concepts appropriately.

In small groups, students describe, analyze, and

interpret a range of ceramic works—their own and those

of others.

Students examine ceramic works from various cultures,

times, and places. Have students interpret works,

determine purposes, function, meaning without knowing

the contextual backgrounds. Study the works with

appropriate information and discuss ways that looking at

works out of context might influence conclusions drawn.

Students analyze or research ways that ceramic arts

have conveyed universal themes or subject matter

across historical periods. How does history impact

ceramic expression?

Using multicultural works representing time periods from

prehistory to contemporary society, students investigate

the impact of geography on the ceramic products created

in each setting. Divide the class into teams, each with a

specific assignment. Each team will present

findings to the class after research is complete. Reports

will be submitted in writing.

Divide the class into two teams. Students debate the

issues of ceramics as art or craft. Teams must conduct

research, provide examples, and create a rubric with

criteria to determine if a work is art or craft.

Rubric designed

according to assigned

criteria

Teacher observation

Rating scale

Student self

assessment

Rubric to assess

overall quality

Teacher evaluation of

news releases.

Rating scale to be

used by teams

Teacher observation

and guiding questions

Spreadsheets to

contrast time periods

Peer assessment using

a rating scale

Rubric for teacher

assessment of written

report.

Teacher assessment of

presentations using

rating scale. Rubric to

assess rubric quality

Visual Arts 126




High School Ceramics II

10

11

12

a

a

c

Students to research pottery from multicultural sources

to use as inspiration for a subject, themes, or problem.

Students create a work to express their intended purpose.

Students choose a topic and write a short research

paper about the impact a particular ceramic art form or

process has had on society in a specific time period.

Students compare characteristics of ceramic objects in

specific cultures, times, and places to circumstances in

the humanities and sciences.

Rubric

Rubric to assess

written reports.

Student generated

rating scale or rubric

Visual Arts 127



ACTIVITY 1

WHAT IS CERAMICS?

Ceramics is the skill of making pottery, or objects from clay. Pottery is made by forming clay

into shapes and heating them to high temperatures in a kiln. The heat causes reactions that

lead to permanent changes, including increasing the strength and hardening and setting the

shape of the clay. Many artists use the potter’s wheel to create their pieces. The potter's wheel

is constructed of two rotating disks connected to a spinning cylinder (like a spool of thread).

The top wheel is called "the wheel head" and is used for shaping the clay, while the bottom

wheel rotates the wheel head. Potters throw their lump of clay onto the center of the wheel as

it spins. By applying pressure with their hands and tools, the potter forces the clay into various

shapes. Ceramic objects made using a wheel include bowls, vases, cups, and plates.

DID YOU KNOW?

• Ceramics is one of the oldest art forms known to man. Since the late Stone Age, or Neolithic

Period, people have been making ceramic objects. Most of the early pieces that have been

found were utilitarian or used as ritual vessels.

• While there is still question as to who was the actual inventor of the wheel, most potters

believe that sometime during the 4th century the potter's wheel was invented in the coastal

region of northern China. In parts of Turkey and the Middle East, some of the wheel designs

created during the time of Christ are still being used today.



Hands on Fun!

Create Your Own Clay Pinch Pot

MATERIALS

• Self hardening Clay, like Crayola Model Magic©

• Markers, optional

PROJECT DIRECTIONS

1. Give each student a small ball of clay about the size of their fist.

2. Knead the clay like making bread. This warms the clay making it pliable and gets any air out.

3. Form clay into a ball.

4. With the thumb punch a hole almost through the ball to make a hole.

5. Pinch the clay between the thumb and other fingers to thin the walls. Turn pot as you pinch.

6. Set pot on flat surface to make a flat bottom.

6. When have pot made, set aside to dry.

7. Color may be added with markers when dry.

With pinching gestures, you can mold clay into other objects such as animals. While this form of

pottery seems very basic, you can get a feel for the material and learn the limits of your clay.

ID HEU



Activity 2

WHAT IS WOODTURNING?

Woodturning is a form of woodworking that is used to create wooden objects on a lathe. A

lathe is a machine that shapes a piece of material, such as wood or metal, by rotating it along

its axis while placing a cutting tool against the material. Woodturning differs from most other

forms of woodworking in that the wood is moving while a relatively stationary tool is used to

cut and shape it. Many intricate shapes and designs can be made by turning wood.

DID YOU KNOW?

• Scholars believe that the lathe was invented around 1000BCE. By the 2nd century, the lathe

was known to most people throughout the Near East and Europe.

• Originally, the lathe was vertically oriented, like the potter’s wheel. An ancient Egyptian

papyrus painting shows a vertical lathe being operated by two men. One man pulls on a cord to

turn the material while the other man shapes the material with a tool or blade. The artist could

only cut while the piece spins in one direction, and had to wait for the piece to return after

each spin.

• Leonardo da Vinci was one of the many inventors who designed an early continuous drive

lathe, which provided constant motion. Continuous-drive lathes resulted in vast

improvements in speed and precision.

• Woodturning became popular in America in the early 1700s. Popular turned items included

chairs, bowls, boxes, and even toys.



Hands on Fun!

FRUITturning? Exploring the concepts of Woodturning! A lathe is the indispensable tool used by every wood turner; however, it is not a common item found in

an elementary school classroom. Therefore, this project allows teachers to demonstrate and explain the

concepts of the woodturning craft to their students, without the risks or expense involved with a lathe.

Lesson Objectives: The students will...

1. Discuss uses of trees

2. Look at the wood grain and hardness of different types of trees

3. Collect and share items made from wood

4. Discuss the importance of tree conservation

5. Discuss the wood turner as artist and conservationist

MATERIALS

• 1 apple peeler corer- the metal type with a crank – available at kitchen stores or

www.thepamperedchef.com

• 1 stand or table to attach the apple peeler corer

• Apples – other fruits/vegetables may be used like pears, potatoes, turnips…

• Items made from wood

PROJECT DIRECTIONS

As industrialization increased in the United States, so did awareness for natural resource conservation.

Wood turners are strong advocates of conservation. Generally, a wood turner does not go out and cut

down vibrant, healthy trees. They collect old wood from trees that have fallen or have been taken down

for health or safety reasons. From the discarded wood, the wood turner incorporates its texture, growth

rings, and imperfections into beautiful decorative and functional pieces. This demonstration will

simulate the process of turning wood on a lathe.

1. Pass around a piece of wood and ask each student to give a different use for the wood

(example: tooth picks, desk, pencil, mantle, spoons etc). Discuss wood grain and the hardness of

different trees. How would their uses be different or the same? Pass around the items made

from wood. Discuss their color, textures, shapes, uses.



2. Before using the corer peeler to demonstrate, explain the wood turning process:

• Wood turning is a subtractive process of taking material away.

• The artist takes a block of wood and attaches it to the lathe.

• When the lather is turned on, the wood begins to spin very fast.

• Using a sharp tool, the artist gently presses it against the wood as it spins.

• Friction is created by the tool rubbing against the wood.

• Excess wood is carved away by the tool as it is pushed against the spinning wood.

• Different tools are used as the process continues from the rough shape to the finely finished

product.

3. Give each student an apple or other piece of fruit to simulate a block of wood. The teacher can

conduct one large group demonstration turning the apple or after a group demo, each student,

under adult supervision, may turn their own apple.



ACTIVITY 3

Quiz

1. Native American Indians and early settlers in Mississippi used crafts for ____________.

2. Name three crafts and their uses.

_________________________________________________________________________

_________________________________________________________________________

_________________________________________________________________________

3. In the 1700’s in Europe machines began to do the jobs of craftsmen. This was called

__________________________________.

4. In the year _____, the idea to create an organization promoting native crafts and the people

who produced them was introduced by ____________________.

5. Delta State University art graduate student _______________ became the first Executive

Director of the Mississippi Craftsmen’s guild.

6. The difference between crafts and other art forms is that art produced by a craftsman is

_____________________.

7. The Craftsmen’s Guild of Mississippi hosts the ____________________________ every year in

December.

8. The place where a craftsman works is called a __________.

9. Someone who is skilled at a craft is called an _____________.

10. The Mississippi Craft Center, located at 950 Rice Road in Ridgeland, opened to the public in the

year ______.



Quiz Answer Key

1. Native American Indians and early settlers in Mississippi used crafts for survival.

2. Name three crafts and their uses.

Quilts for warmth.

Baskets for carrying crops from the field.

Pans for cooking.

Pottery for carrying water.

3. In the 1700’s in Europe machines began to do the jobs of craftsmen. This was called The

Industrial Revolution.

4. In the year 1973, the idea to create an organization promoting native crafts and the people who

produced them was introduced by Governor Bill Waller.

5. Delta State University art graduate student Dan Overly became the first Executive Director of

the Mississippi Craftsmen’s guild.

6. The difference between crafts and other art forms is that art produced by a craftsmen is three-

dimensional.

7. The Craftsmen’s Guild of Mississippi hosts the Chimneyville Crafts Festival every year in

December.

8. The place where a craftsman works is called a studio.

9. Someone who is skilled at a craft is called an artisan.

10. The Mississippi Craft Center, located at 950 Rice Road in Ridgeland, opened to the public in the

year 2007.



Glossary

Artisan: someone who is skilled at a craft

Craft: (noun) - an occupation or trade requiring manual dexterity or skilled artistry

Craft: (verb) - to make by hand; to construct in a manner suggesting great care or ingenuity

Decorative Arts: artwork that is meant to be used in the home such as furniture, pottery, stained glass,

metal work

Demonstrate: to explain by showing

Fine Craft: an item that is not only well designed but also shows great originality and creativity

Function: an action or use for which something is made or designed

Medium: the type of material an artist uses to make things

Studio: the place where an artist works

Three-dimensional: an object that has height, width and depth

Tools: the objects an artist uses to make their craft





MPB Hot Chalk – www.mpbeducatorexpress.com

Color the Crafts – Mississippi Craft Center coloring book (K-6)

A Conspiracy To Do Good – The Mississippi Craft Center and The Craftsmen’s Guild of Mississippi

(:30 minute video)

A Conspiracy To Do Good – Educator Resource and Activity Guide

A Conspiracy To Do Good – History of The Craftsmen’s Guild of Mississippi and The Mississippi

Craft Center Powerpoint Presentation

Mississippi Public Broadcasting – www.mpbonline.org/craftcenter

The Craftsman’s Guild of Mississippi – www.mscrafts.org

Craft links – Video’s (www.mscrafts.org/index.php/video-demonstrations)

Dave Heflin Metal Sculpture (plus 14 additional sculpture videos)

Part 1 History of Traditional and Contemporary Quilting

Part 2 History of Traditional and Contemporary Quilting

Weaving Class with Marcy Petrini

Pottery with Ann Baker

Wood Carving with George Berry

Handmade Crafts

Blacksmith Techniques

HGA Small Expressions 2009

Handweaver’s Guild of America 2009 Small Expressions Exhibit

Mississippi Department of Education – www.mde.k12.ms.us

Mississippi Curriculum Framework for Visual and Performing Arts

http://www.mde.k12.ms.us/ACAD/ID/Curriculum/Arts/curriculum/VisArts.pdf

Woodturning

www.brendastein.com

www.diynetwork.com

www.roundthewood.com

www.woodturnerdesign.com

Clay

www.natchezclay.com

www.pickenpaughpottery.com

Books

The Guild at Twenty-Five, A Portrait of the Craftsmen’s Guild of Mississippi

Edited by Stephen Flinn Young and Diana C. Young, Preface by Aubrey K. Lucas

The Kid “N” Ceramics Book by Kevin Nierman, Elaine Arima, and Curtis H. Arima

Turning Wood with Richard Raffan by Richard Raffan

Woodturning: A Foundation Course by Keith Rowley



The Craftsmen’s Guild of Mississippi

State Map

The below map highlights the location of every current member of The Mississippi Craftmen’s Guild.

Following this page is a county listing of all Craftsmen located in Mississippi. If you would like to arrange

for a member of The Craftsman’s Guild of Mississippi to be a part of your classroom instruction, contact

Sheri Cox, Mississippi Craft Center Education & Event Coordinator, at (601) 856-7536,

[email protected].




Mississippi County Listing

Adams County Amite County

Jean Benoit, Natchez – Baskets, Fiber Daniel M. Dillon, Sr., Smithdale, Wood Chairs

Conner Burns, Natchez – Ceramics Robbie Robertson, Liberty – Wood

Tom Hughes, Natchez – Ceramics

Bonnie Jones, Natchez – Doll Making Attala County

Mary Evelyn Metts, Natchez – Chair, Caning

Vicki Niolet, Natchez – Sculpture, Mixed Media Catherine Hardy, Kosciusko, Sculpture – Clay

Allen Whittington, Natchez – Nantucket Baskets Sarah Rick, Sallis, Silhouettes – Paper

Bolivar County Chickasaw County

Roger Styers, Cleveland, Glass – Blown Jeff Long, Houlka, Wood Furniture

Robert and Debra Shinn, Okolona, Jewelry - Metal

Choctaw County Claiborne County

G. Fritz Fulgham, Ackerman, Ceramics Henry Bufkin, Jr., Port Gibson, Wood Turning

Ken McLemore, Port Gibson, Wood Spoons

Theresa Merritt, Port Gibson, Dolls

Clarke County Clay County

Kent and Winki Allen, Enterprise, Ceramics Bessie Johnson, West Point, Basketry - Pineneedle

Johanna Massingale, Quitman, Dried Flower Arrang.

Coahoma County Copiah County

Mary Lou Mabry, Dublin, Gourds Bill Pevey, Crystal Springs, Blacksmithing

Sis $ D’s Spoons, Clarksdale, Metal Spoons Roselyn Polk, Hazelhurst, Jewelry – Beadwork

Frank Wells, Crystal Springs, Wood Furniture

Johnny “Nuggett” Wilson, Crystal Springs, Wood Spoons

Covington County DeSoto County

Claudia Cartee, Seminary, Ceramics Jim Anderson, Hernando, Ceramics

Marilyn Diehl, Mt. Olive, Wood Baskets Denise Brown, Southaven, Spinning – Fiber

Joseph Eckles, Hernando, Ceramics

R.P. Funderburk, Olive Branch, Ceramics

Amos Hood, Horn Lake, Wood Furniture

Louis P. Nappi, Olive Branch, Ceramics

Carol Stroud, Nesbit, Jewelry – Precious Metal Clay



Forrest County Grenada County

Susan Carruth, Hattiesburg, Jewelry – Metal/Silver Jan and Liz Carter, Gore Springs, Ceramics

Erik T. Eaves, Hattiesburg, Stone Gabriella DeLawey, Grenada, Mixed Media

Melanie Eubanks, Hattiesburg, Ceramics

Amanda Lovitt-Call, Brooklyn, Weaving Hancock County

Mark Rigsby, Hattiesburg, Ceramics

Terrance Tjader, Petal, Turned - Wood Jorge Lovato, Bay St. Louis, Wood Carving

Dale Simmons, Waveland, Ceramics

Harrison County

Hinds County

Mary Ott and Ken Davidson, Saucier, Jewelry

John Maurice Milleur, Gulfport, Jewelry – Pewter Julia Allen, Jackson, Metal

Lisa F. Bouvette, Gulfport, Ceramics Iia Alverez-Hallmark, Jackson, Mixed Media

Jasmine Henson, Long Beach, Jewelry B. Liles Studio, Jackson, Jewelry – Metal/Bead

Brian Nettles, Pass Christian, Ceramics Ann Baker, Jackson, Ceramics

Candace Ballard, Jackson, Rug Hooking

Holmes County Bill Bannister, Jackson, Wood Toys

Rhonda Blasingame, Jackson, Quilts

Melissa Ramage, West, Carved Wood Bill Broadus, Clingon, Metal Sculpture

Carmen G. Castilla, Jackson, Wax Candles

Itawamba County Walter Catt, Clinton, Turning/Segmented Wood

Janice Clark, Utica, Leather Goods

Tabitha Boren, Mantachie, Ceramics Fletcher and Carol Cox, Tougaloo, Wood Furniture

Richard Craft, Jackson, Metal Furniture

Jackson County Robert Crowell, Jackson, Sculpture

Ann Daniel, Clinton, Sculpture

Clinton J. Baker, Ocean Springs, Wood Turning Barbara Dearman, Jackson, Beads – Beadwork

Gayle Clark, Ocean Springs, Jewelry – Pewter Debby DeLashmet, Jackson, Stained Glass

Jeannette Fulton, Ocean Springs, Jewelry – Metal Thomas S. Eddleman, Jr., Jackson, Glass Etching

Stacey Johnson, Ocean Springs, Wood Carving Craig L. Escudé, Jackson, Stained Glass

Jean Sparkles, Ocean Springs, Weaving Sean Guy, Jackson – Fused Glass

Josh Hailey, Jackson, Mixed Media – Metal

Jasper County Stacey Hansen, Jackson, Jewelry – Metal

Greg Harkins, Jackson – Wood Chairs

Dave Heflin, Louin, Sculpture – Metal Kevin Harrington, Jackson, Wood Furniture

Dayton & Michelle Scoggins, Heidelberg, Wood Sculpture Teresa Haygood, Jackson, Mosiac – Glass

Jason Wilson, Bay Springs, Ceramics Pattie Henson, Jackson, Other – Surface Design

Paige Holliday, Jackson, Fiber – Surface Design

Jones County Joseph A. Horn, Terry, Wood Carving

Herbert A. Johnson, Clinton, Wood

Fred Alsworth, Ellisville, Instruments – Wood Juliet Johnston, Jackson, Ceramics

Byron Myrick, Moselle, Ceramics Shambe Jones, Jackson, Surface Design – Wood

Dianne Owen, Laurel, Baskets - Pineneedle Billy Jones, Jackson, Wood Sculpture

J.B. Keith, Jr., Clinton, Dulcimers – Wood`



Lafayette County Hinds County (con’t)

Obie Clark, Taylor, Ceramics Eleanor Carol Kerr, Jackson, Dolls

Keith Stewart, Taylor, Ceramics Molly Kyzar, Terry – Stained Glass

Anne Thompson, Oxford, Jewelry – Metal David Lambert, Jackson, Folk Art – Wood

Light and Glass Studio, Jackson, Collage

Lamar County Ron Lindsey, Clinton, Ceramics

Evelyn Little, Utica, Quilt

Alvin Schilling, Purvis, Wood Bowls Lewis Lloyd, Byram, Knives

Sami Lott, Jackson, Wearable Art – Fiber

Lauderdale County Walter Mabry, Jackson, Scrimshaw

Gwendolyn Magee, Jackson, Quilts

Anderson Square Studio, Collinsville, Jewelry Linda Mann, Jackson, Baskets

H.E. (Benny) & Linda Crevitt, Meridian, Blacksmith Liliclaire McKinnon-Hicks, Jackson, Jewelry – Metal

Jill Hammes, Meridian, Weave/Surface Design Jeffrey Melton, Raymond, Mixed Media Access.

Edward Snodgrass, Meridian, Stained/Flat – Glass Bob Mullins, Raymond, Stained Glass

Jane Mullins, Raymond, Stained Glass

Leake County Barbara and Dean Parks, Clinton, Jewelry/Stones

Joe Partridge, Jr., Clinton, Wood Turning

Mike Johnson, Walnut Grove, Wood – Jewelry Roger Pearson, Clinton, Fly Tying – Metal

Mike Johnson, Walnut Grove, Wood – Canes Marcy Petrini, Jackson, Weaving – Fiber

Elizabeth Robinson, Jackson, Sculpture – Glass

Lee County Rissa Peace Root, Jackson, Crochet

Rosalind Roy, Jackson, Sculpture – Polymer Clay

Melinda Lamon, Saltillo, Glass Jewelry Bill Rusk, Jackson, Wood Furniture

Linda Riggan, Tupelo, Dolls – Polymer Clay Judy Schlater, Clinton, Ukrainian Eggs

Larry Smith, Jackson, Clocks – Mixed Media

Leflore County Southern Fried Pottery and Glass Studio, Edwards

Richard Stowe, Clinton, Jewelry/Crosses – Wood

Wallace Mallette, Greenwood, Ceramics Studio 2 Concrete, Jackson, Functional Concrete

Jerry G. Taylor, Itta Bena, Jewelry – Wire/Stone Jerry Summerford, Jackson, Wood Furniture

David M. Thomas, Jackson, Wood Furniture

Lincoln County J. Lamar Thompson, Clinton, Wood Turning

Terry L. Vandeventer, Terry, Knives – Metal

Merrie Boerner, Bogue Chitto, Ceramics Jason Walker, Utica, Wire Sculpture

Karen Brown, Brookhaven, Quilts Virginia Watkins, Jackson, Knitting

A. Dale Smith, Brookhaven, Wood Furniture Joe Williams, Jackson, Carving Canes – Wood

Jeri Smith, Bogue Chitto, Stained Glass Wolfe Studio, Jackson, Metal – Printmaking

Marianne and Billy Wynn, Jackson, Fused Glass

Lowndes County Yellow Umbrella Glass Studio, Jackson, Fused Glass

Andy Young, Jackson, Stained Glass

Michael Bailey, Columbus, Carved Wood

Jane L. Crawford, Columbus, Fusted/Stained Glass Marion County

Dawn Tilson-Johnson, Columbus, Baskets Pineneedle Harry Griffith, Columbia, Toys – Wood

Melody Vydas, Columbus, Jewelry - Glass Lori R. Watts, Columbia, Ceramics



Madison County Marshall County

Cecile Bartlett, Ridgeland, Jewelry – Metal Susan K. Jones, Holly Springs, Jewelry – Metal

Andy Blake, Madison, Mixed Media Sheri C. Marshall, Holly Springs, Clay – Ceramics

Lynn Bowers, Madison, Ceramics William Rich, Byhalia, Wood

Tristan Brandenburg, Madison, Turned Wood

Anne Brunson, Canton, Jewelry – Metal Monroe County

Candy Cain, Madison, Batik – Fiber

Todd Carr, Madison, Turned Wood Don and Louis Coulson, Aberdeen, Jewelry – Wire

Sam Clark, Madison, Ceramics Robert Faulkner, Aberdeen, Wood Furniture

Donna Davis, Madison, Flat (stained) Glass Jean Payne, Aberdeen, Surface Design – Clay

Harry Day, Madison, Metal

Stephanie Dwyer, Ridgeland, Quilts Newton County

Dorinda Evans, Madison, Quilts

Gene Everitt, Clinton, Enameling – Copper Harry Holt, Little Rock, Metal

Judy Foster, Madison, Weaving Theresa Livingston, Decatur, Glass Jewelry

Thomas Gamblin, Madison, Caning – Wood Barbara Rigdon, Little Rock, Baskets – Wood

Joe Gilbert, Ridgeland, Mixed Media – Stone

John Haltom, Ridgeland, American Arts – Native Oktibbeha County

Edward L. (Eddie) Havens, Jr., Ridgeland, Jewelry

Hayne Studio, Madison, Felting Kathryn David, Starkville, Stained Glass

Emelie Hebert, Madison, Ceramics Laurie Parker, Starkville, Jewelry – Paper

Melanie K. Land, Madison, Jewelry – Metal Patrick Tranum, Sturgis, Sculpture – Metal

Martha Latham, Ridgeland, Jewelry Jeanne Wakeman, Starkville, Jewelry – Metal

Marilyn Tolley Rose Studio, Ridgeland, Quilts Billy Joe Whitehead, Starkville, Leather

Corley Marsalis, Madison, Casting – Resin S.H. (Hank) Williams, Starkville, Coopery – Wood

Robert Maxwell, Madison, Sculpture – Bronze

Moni McKee, Ridgeland, Sculpture – Ceramics Panola County

Lisanne Miller, Canton, Rugs – Fiber

Donna Peyton, Madison, Knitting Rachel Ballentine, Sardis, Ceramics

Pickenpaugh Pottery, Madison, Ceramics Stanley Thomas, Jr., Batesville, Wood Turning

Norman Rodgers, Madison, Wood Furniture

Thomas Root, Madison, Mixed Media – Wood Pike County

Pam Sigman, Canton, Dolls

John Stenmark, Madison, Turned Wood David Ellzey, Magnolia, Ceramics/Tiles

Jennifer Taylor, Canton, Jewelry – Metal

Andrea Thompson, Madison, Other – Pineneedle Prentiss County

Dee Wilder, Madison, Jewelry – Polymer Clay

Ricky Wynn, Madison, Sculpture and Knives Helene Fielder, Booneville, Ceramics

Rankin County Sharkey County

Bankston Glassworks, Brandon, Glass Lee A. Washington, Rolling Fork, Sculpture

George Berry, Sr., Pearl, Wood Carving

Brian Brazeal, Brandon, Blacksmithing



Rankin County (con’t) Smith County

Charles Campbell, Brandon, Folk Furniture – Wood Curtis David Hegwood, Sr., Raleigh, Scrimshaw

Anne Campbell, Brandon, Sculpture Paul Meek, Raleigh, Turkey Calls – Wood

Grant Courtney, Brandon, Wood Furniture Mike & Michelle Thompson, Raleigh, Gourds

Kit Davis, Brandon, Beader/Beadmaker – Glass Warren Wells, Raleigh, Ceramics

John Gibson, Brandon, Surface Designs – Gourds

Marva Lee & Max Goodman, Brandon, Spinning Stone County

Emily F. Greer, Brandon, Fiber – Purses

Ann Hairston, Beadwork - Beads Patrick & Nancilee Bodine, Wiggins, Ceramics

Jack Herring, Brandon, Wood Bowls Bethany Pittman, Wiggins, Ceramics

Bobby L. Howard, Brandon, Wood Knives

Joe Hunt, Brandon, Wood Carving Tallahatchie County

Alan Kolodny, Pearl, Tatting – Fiber

Larry Lewis, Brandon, Wood Furniture Carroll Bruister, Jr., Tutwiler, Other Leather

Rose Ellen Lindsey, Brandon, Ceramics Melanie Bruister Taylor, Tutwiler, Surface Design

Sammy Long, Brandon, Wood Turning Leslie M. turner, Tutwiler, Glass Jewelry

Mike Mayberry, Brandon, Wood Sculpture Tutwiler Community Quilters, Tutwiler, Quilts

Rebecca McClellan, Flowood, Knit and Crochet

Mary McGreger, Brandon, Ceramics Tate County

Harold W. Miller, Brandon, Ceramics

Jamie Mitchell, Brandon, Wood Boxes Patricia Holmberg, Coldwater, Spinning – Fiber

Annie Lee Nelson, Brandon, Pineneedle Baskets Sharon Williams, Coldwater, Weaving – Fiber

W.D. Norton, Brandon, White Oak Baskets

Martha Scarborough, Brandon, Jewelry – Metal Union County

Bryan Smyda, Puckett, Wood Furniture

Larry C. Strayer, Brandon, Metal Sculpture Charles Buster, New Albany, Turned Wood

Adrain Sturdivant, Brandon, Wood Turning Roy Thomas Sappington, New Albany, Wood

Laura Tarbutton, Brandon, Jewelry – Precious Metal Clay

Leigh Everett Taylor, Brandon, Beadwork Warren County

Jennifer Lynn Thomas, Pearl, Mixed Media – Fiber

Shannon Valentine, Pearl, Mixed Media – Fiber Janet Akers, Vicksburg, Ceramics

Randy Walker, Brandon, Wire Jewelry Tully Hall, Vicksburg, Toys - Wood

Diane Jordan, Vicksburg, Quilts

Terry Anthony & Ardiss Marshall, Vicksburg, Native

American

Webster County Winston County

Sweetgum Whimsies, Mantee, Gourds Susan Clark, Louisville, Clay Sculpture – Ceramics

Richard Hall Woodward, Louisville, Wood Turning

Yalobusha County

John S. Davis, Water Valley, Wood Furniture



Yazoo County

Alexander Brown, Bentonia, Wood Carving

Annita Johnson, Benton, Collage – Paper

Charles Lee “Chick” King, Yazoo City, Wood

Gayle Kramer, Benton, Mixed Media – Wood

Helen Looman, Yazoo City, Gourds

Bobby Rico, Vaughn, Metal Knives




Other States Listing

Alabama Arkansas

Margaret Barber, Ceramics Larry & Rebecca Brockman, Other – Leather

Tammy Beane, Ceramics Done & Lee Jackson, Ceramics

Allison Bohorfoush, Jewelry – Metal Rodney Lemonier, Ceramics

Steve Davis, Blacksmithing Sculpture Michael Schwade, Jewelry – Metal

Susan Freeman, Ceramics

Daniel Livingston, Ceramics California

David E. Lupton, Turned Wood

Lucy Moore, Fabric Toys Shirley Roney, Ceramics

Jim Rittman, Furniture/Access. – Wood

Jack Rogers, Wood Turning Colorado

Robert Taylor, Copper – Metal

Claire Whitmore, Fabric Design - Fiber Bob Willis, Turning/Carving - Wood

Florida Georgia

Diane Kirkpatrick, Wire – Jewelry Susan Clayton, Sculpture – Clay

Christian Lee, Textiles - Fiber Luis Espinoza, Jewelry

Richard Jacobus, Metal

Illinois Norma Jane Mushtare, Jewelry

Antoinette Badenhorst, Ceramics Kentucky

Louisiana Jana John, Ceramics

Richard Kolb, Metal

Ann O’Brien Studios, Jewelry

Arceneaux Cabinet Makers, Furniture Massachusetts

Annette Aucoin, Metal

Rosalind Broome, Ceramics – Porcelain Clay Holly Benzenhafer Redford, Weaving – Fiber

Rebecca Burt, Jewelry – Metal

Shirley De’Vard, Jewelry – Glass Maryland

Luann Duhon, Ceramics

Maxie Durel-Crain, Jewelry Yoshi Fujii, Ceramics

Kent Follette, Ceramics

Carolyn Foster, Jewelry – Beads Michigan

Michael Haymen, Jewelry – Metal

Jerry & Paula Hymel, Stained Glass Flynn Sochon, Ceramics

Pat Juneau, Jewelry – Metal

Lynda Katz, Ceramics

Wes Koon, Glass



Louisiana (con’t) Minnesota

Alexander Brown, Bentonia, Wood Carving Jan L. Mrachek, Beadwork - Jewelry

Annita Johnson, Benton, Collage – Paper

Charles Lee “Chick” King, Yazoo City, Wood Montana

Gayle Kramer, Benton, Mixed Media – Wood

Helen Looman, Yazoo City, Gourds Elizabeth Hugh, Fiber Design

Bobby Rico, Vaughn, Metal Knives

Lynn Langhoss, Fiber North Carolina

Jerilyn Guidry LaVergne, Fused Glass

Laura Glen Lawson, Jewelry – Metal Sandy & Ann Batton, Ceramics

Malcolm Matthews, Bath Tub Feet – Cast Iron Susan F. Robertson, Blown Glass

Kenneth McCaffery, Wood Turning

Joanne M. McMullen, Wire Jewelry South Carolina

Betsy Meyers – Green, Jewerly – Metal

Joe Cooper Rolfe, Mixed Media – Wood Susan F. Robertson, Blown Glass

Sisters Creation Studio, Beadwork - Beads

Doug Stannard, Glass Tennessee

Arden Stewart, Glass

Laura Teaque, Jewelry – Metal Tim Arnold, Wood Boxes

Patricia Watkins, Ceramics Cindy Billingsley, Ceramics

David & Emily Wortman, Ceramics Judy Brater, Ceramics

Cadman & Cummins Studios, Wood Sculptures

Texas Ben Caldwell, Copper Utensils

Alan Daigre, Wood Furniture

Gloria Bartz, Calligraphy Katie Dann, Jewelry – Ceramics

Mike Kury, Sculpture – Wax Tom Fuhrman, Blown Glass

John Leonard, Wood Turning David Grant, Ceramics

Donald R. & Peggy Pimpler, Metal Teresa Hays, Fiber

Potters Brown Studio, Ceramics Polly Henry, Fiber

Bob Tomson, Sculpture - Metal Scott Hodes, Glass

Jeanie Holland, Ceramics

Jennifer Hyatt, Sculpture – Clay

Arlene Knaak, Tiles/Sculpture – Clay

Tim Pace, Metal

Martin Paschall, Ceramics – Clay

Red Oak Pottery, Clay Pottery

T.R. Reed, Kinetic Toys – Wood

Ann Rob, Wire Jewelry

Peter Rose, Ceramics

Mark Sanders, Blown Glass

Phillip Stafford, Wood Furniture

Vickie Vipperman, Weaving

Studio Wells, Enamel Sculpture - Metal

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