Word: potterer
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...Dave Potter '77 consumed four or five beers before his match, according to bartender Dan Binning '79. "He lost, but I'm not saying that beer did it," Binning said. Beer seemed to be the gatorade of the evening, however, as almost half a keg was consumed in one half hour stretch. They didn't have that in Junior High...
...become the most celebrated rabbit since the Easter Bunny. Now, upon his 75th birthday, the little creature betrays no signs of age-or, for that matter, maturity. Nor do Squirrel Nutkin, Jemima Puddle-Duck, Tom Kitten or any of the other animals in the watercolor menagerie of Beatrix Potter. The writer was a victim of Victorian repression -she did not leave home until the age of 47-and her prose is marked with arch names and marred with punishments for the nonconformist. Her artwork is another matter: from childhood, Beatrix commanded a delicate palette and an irrepressible whimsy. Her meticulous...
...none of those works seem to resonate quite so deeply in the world of childhood. In a market where the purchase of 10,000 copies constitutes a bestseller, the Potter titles (23 volumes; Frederick Warne; $2.95 each) continue to sell at the rate of some 300,000 copies a year. Adults often complain that Beatrix Potter's minibooks have grown archaic and irrelevant. Children know better; for them there will always be some chamber of the mind where it is 1902 and where, if a stick awaits, so does a carrot at the end of a long...
...student, who had been born in Hong Kong and urged by his father to become a banker, was named Bernard Leach. He is 90 now, and blind, but for at least 40 years Leach has been recognized as the greatest living Western potter, ranking with the Japanese masters Shoji Hamada, Kenkichi Tomimoto and Kanjiro Kawai as one of the four supreme masters of clay in modern times, East or West. All this month a retrospective exhibition, including some 200 Leach pots, has been on view at London's Victoria and Albert Museum. It spans his whole working life from...
...ceramics was "hardness, whiteness and translucency"; Leach's work opposed this taste. Its clear volumes and rigorous "drawing" are a legacy from Chinese Sung dynasty pottery. But the emblem of his style-and his favorite possession-is a Korean rice bowl, made by a 19th century village potter on an irregular wheel. "That is as it should be," he says, caressing the roughly glazed clay. "The plain and unagitated, the uncalculated, the harmless, the straightforward, the natural, the innocent, the humble, the modest: where does beauty lie if not in these qualities? More than anything else, this...