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Margaret Carney
Margaret Lou Carney is a ceramic art historian and museum director from Iowa City, who established the Alfred Ceramic Art Museum at Alfred University in Alfred, NY in 1991 and the International Museum of Dinnerware Design in Ann Arbor, Michigan in 2012.

Early Life and Education
Carney was born in Iowa City, Iowa and has a B.A. degree in anthropology from the University of Iowa. While working at the Herbert Hoover Presidential Library in West Branch, Iowa, she developed an interest in the Ming Dynasty Chinese ceramics collected by the Hoovers, leading her to continue her education in art history, first earning an M.A. at the University of Iowa followed by a Ph.D. specializing in Asian Art History at the University of Kansas under the direction of Laurence Sickman. Her Ph.D. studies led her to spend two years at XXXX in Zhengzhou, China while she researched the Northern Sung dynasty ceramics from the Chu-Lu archeological site that was a market city buried in the silt of the Yellow River due to a flood in 1108.

Professional Career
Carney was director of the Blanden Memorial Art Gallery in Fort Dodge, Iowa from XXXX to XXXX. In 1991, Carney joined the faculty at the New York State College of Ceramics at Alfred University as a ceramic art historian, and soon thereafter established the Museum of Ceramic Art at Alfred (now the Alfred Ceramic Art Museum) based on the College's collection of ceramics dating back to the early 1900s.

After leaving Alfred in 2002, Carney became director and chief curator for the Blair Museum of Lithophanes, in Toledo, Ohio, and authored the first book on lithophanes.

In 2012, Carney established the Dinnerware Museum (now the International Museum of Dinnerware Design) in Ann Arbor, Michigan.

Honors and Awards

 * Fellow, American Ceramic Society
 * International Academy of Ceramics
 * Smithsonian Fellow

Publications

 * Charles Fergus Binns, Father of American Studio Ceramics
 * Flint Faience Tiles
 * Lithophanes

Biography
Charles Fergus Binns was born on October 4, 1857 in Worcester, England, the seventh of ten children. His father, Richard William Binns was art director and co-managing director of the Royal Worcester Porcelain Works. Binns attended the Worcester Cathedral King's School from 1869 to 1872. At the age of 14, he was apprenticed at the Royal Worcester Porcelain Works, where he was exposed to every aspect of the pottery business. His education continued while he worked at the pottery and he studied art at the Worcester School of Design, and studied chemistry in nearby Birmingham. Binns worked for Royal Worcester for the next 25 years eventually becoming the head of the sales office, first in Worcester and beginning in 1884, in London. Be was a popular lecturer on the subject of ceramics and began writing on the topic. In 1893 he visited the United States for the first time accompanying the Royal Worcester exhibit at the World's Columbian Exhibition in Chicago. After returning to England he became technical director for the pottery in Worcester for four years. Binns resigned his position at Royal Worcester at the age of 40 when his father retired in 1897. [ref. Carney]

After leaving Royal Worcester, Binns moved to America. After several months of traveling and giving lectures on ceramics while looking for a position, he became principal of the Technical School for Sciences and Art in Trenton, New Jersey, and in 1898 began working for the Ceramic Art Company in Trenton, which later became Lenox China. At this time, Binns became one of the founding members of the American Ceramic Society. In 1900, Binns became director of the newly formed New York State School of Clay-Working and Ceramics at Alfred University, in Alfred, New York, which was the first school to combine ceramic art and technology. Because of his background in both art and chemistry, and his growing reputation and a scholar and lecturer, Binns was the the ideal person to lead this new school. Under Binns's leadership, the reputation of the school at Alfred grew and by the time of his retirement in 1931, Binns had had a significant effect on the development of the studio ceramics movement in the United States, and is thus known as the father of American studio ceramics. [ref: Carney]

Pottery
While at Alfred, Binns produced stoneware vases and bowls with rich high-fire glazes. These are a significant departure from the ornately decorated china produced by Royal Worcester. Binns was influenced by the French artist-potters of the late 19th century and early 20th centuries who were working in stoneware or grès, and was also influenced by Chinese forms from the Qing dynasty, which in turn were based those of the Song dynasty. As in the Song dynasty, Binns regarded the form to be paramount, with the glaze to be secondary, but he still regarded the early Chinese glazes he emulated to be comparable to works of art. [ref: Carney]

Binns emphasized craftsmanship in his work with the technical and aesthetic aspects equal in importance. He "considered that the proper glaze on a properly shaped and fired body made a piece of pottery." Binns believed that the art (craft?) of the potter should include all aspects of producing ceramics, including preparing the clay and formulating the glazes in addition to shaping, decorating, glazing and firing the ware. In a significant departure from the secrecy that prevailed in the field of ceramics at the time, Binns generously shared his knowledge of ceramics through his teaching, through publications, and through his involvement in the American Ceramic Society.

XXXXXXX NOTES XXXXXXX [Binns considered "the technical and aesthetic aspects of a piece were of equal importance; shape, decoration and glaze formed a unified whole." "According to Binns, the ceramist, like any other artist, should be involved in all aspects of ceramic creation, including clay preparation, glaze formulation, shaping, decorating and firing." Barbara Perry page 121 ]

Students
The broad influence of Binns and his work at Alfred on the emerging studio ceramics movement can be seen through the accomplishments of his students.
 * Arthur Eugene Baggs
 * William V. Bragdon X
 * Margaret Kelley Cable X
 * Ruth E. Canfield X
 * R. Guy Cowan
 * Paul Ernest Cox  X
 * Marion Lawrence Fosdick X
 * Myrtle Merritt French
 * Paul Vickers Gardner
 * Maija Grotell
 * Charles Mabry Harder
 * Harold Nash X
 * Elizabeth Gray Overbeck
 * Adelaide Alsop Robineau
 * Mary Chase Perry Stratton
 * Chauncey R. Thomas  X
 * Frederick Emery Walrath X

Some of his more notable students included Arthur Eugene Baggs,[1] William Victor Bragdon,[2] R. Guy Cowan,[1] Maija Grotell,[1] Elizabeth Overbeck,[2] and Adelaide Alsop Robineau.[3]

Chu-Lu (Archaeological Site)
In 1108 A.D., Chu-lu Hsien and neighboring areas, all located in China's present-day southern Hopei Province, were inundated by a flood of the Yellow River. Northern Sung Chu-lu, including its ceramics, remained preserved, intact, buried in the silt of the Yellow River for nearly 800 years, until 1919 when drought-stricken farmers were digging wells. At that time, farmers unearthed ceramic wares--cream-colored porcelaneous stonewares with a characteristic rust-colored crackling and staining in the glaze caused by burial in the silt of the Yellow River for over 800 years. Hundreds of pieces were unearthed, many being taken abroad by foreign collectors. In the early 1920's inscribed Chu-lu ceramics were collected and published by the Tientsin Museum, and two dwelling sites were excavated by a team of archaeologists from Peking. The primary ceramic ware recovered from this inundated area were Tz'u-chou wares, wares distinguished by the use of a white slip over a buff or light grey body with a clear glaze over the white slip.

This site offered several unique opportunities. Chu-lu contained datable (inscribed) pieces from a datable site. By gathering the pieces together that had been scattered throughout the world, there was still the opportunity to identify a significant and comprehensive collection of datable ceramics from one Hopei Province site--and see how it has influenced our perception of Sung ceramics. Additionally, insights into the innovations and vitality of Tz'u-chou wares in 1108 A.D. were gained. These Chu-lu wares were put in historical perspective with earlier and later periods, and contemporaneous Sung materials. Through this investigation, their significant contribution to the modernization of the ceramic industry in China became clear, in terms of both the evolution of true porcelain and overglaze and underglaze decorating techniques, and the practice of marking ownership on Chinese ceramics. Gathered together during this project, this comprehensive collection of datable materials from one site has given undeniable proof of the high level of technical virtuosity and creativity which existed in 1108 A.D. Furthermore, it has given us both a collection to use for later comparative purposes, and a glimpse into Northern Sung China.

Glidden Pottery
Glidden Pottery produced unique stoneware dinnerware and artware in Alfred, New York from 1940 to 1957. The company was established by Glidden Parker who had studied ceramics at the New York State College of Ceramics at Alfred University. Glidden Pottery's mid-century designs combined molded stoneware forms with hand-painted decoration. The New Yorker magazine described Glidden Pottery as "distinguished by a mat surface, soft color combinations, and, in general, well-thought-out forms that one won't see duplicated in other wares." Gliddenware was sold in leading department stores across the country. Examples of Glidden Pottery can occasionally be seen in television programs from the era, such as I Love Lucy.

The Origins of Glidden Pottery
During a trip to Alfred, New York to visit family, Glidden Parker because interested in ceramics and applied to become a special graduate student at the New York College of Ceramics at Alfred University beginning in 1937. Parker studied with professors Katherine Nelson (painting), Marion Fosdick (ceramics) and Don Schreckengost (ceramic industrial design) and Charles Harder (ceramics). Glidden Pottery began in 1940 in the ceramics studio of Professor Fosdick on North Main Street in Alfred, before moving into its own building. The earliest designs were primarily for floral arrangements.

The ovenproof stoneware ceramic body was developed by Parker with assistance from Clarence Merritt and Charles Harder at the New York State College of Ceramics at Alfred University using clays from New York, Pennsylvania and Ohio. Parker's wife Pat (Harriet Patricia Hamill) who also studied ceramics at Alfred, developed many of the glazes.

Parker's philosophy was that his pottery should combine molded shapes with hand-painted decoration, and should be available to the public at an affordable price. A 16-piece undecorated set sold for about $14.50, making it affordable yet chic. During an interview at the time of the tenth anniversary of Glidden Pottery, Parker stated, "We try to combine handwork with technical developments without destroying the intimate quality.”

Parker successfully marketed his product in New York City and Gliddenware was soon for sale at major department stores across the United States such as Bloomingdale’s, Bergdorf Goodman and Marshall Fields.

Growth
During the first year of the pottery's production, the staff consisted of Parker, his wife Pat (Harriet Patricia Hamill) and one employee. Total production for 1940 was 3000 pieces in 37 different shapes. By 1943 the staff had grown to 8 to 10 employees. Orders for 1945 exceeded 100,000 pieces. At its peak, Glidden Pottery employed 55 people and produced 6000 pieces per week. To accommodate the growing business Parker purchased land on North Main Street in Alfred and built a new concrete block building in 1945. At this time there were over 200 shapes in production. The new facility included a 50-foot tunnel kiln which ran around the clock, except for ten days shutdown every year for repairs.

In 1945 Glidden Pottery began to receive publicity in national magazines, both as write-ups that featured the work and as props in in advertisements for housewares or food. Glidden Pottery was also recognized in the Good Design Shows at the Museum of Modern Art in New York and at Merchandise Mart in Chicago.

In 1949, Glidden Pottery started producing some of the ware using a RAM press, which was a newly developed process for shaping clay products by pressing clay between two molds or dies. Glidden Pottery was the second company to license this patented technology. Glidden adopted a new logo at this time where the initials G and P were fashioned into a Ram's head. RAM pressed pieces were hand finished and hand decorated. The RAM press resulted in changes to the product line. Some older designs were discontinued or modified to be better suited to RAM pressing. New designs were added to take advantage of the capabilities of the new process. While the RAM Press was a more automated production method, Glidden Pottery continued to be hand-finished and hand-decorated, in keeping with Parker’s design philosophy.

In 1954, Lucille Ball and Desi Arnaz bought service for 48 for use in their home in California. Glidden Pottery was also used in Lucy and Ricky's New York City apartment on the I Love Lucy TV show. In 1955, Parker opened Glidden Galleries in Alfred, New York to be a showroom for Glidden Pottery and an outlet for discontinued pieces and seconds. It also provided gallery space for other artists to display their work. Glidden Galleries remained in business until 1970.

Designers
- Glidden Parker was the principal designer for the company he founded and is credited with all of the designs until (they got the ram press) In about 1952 (check date), Parker brought in designers...

- Philip Secrest

- Fong Chow (b. Tianjin, China, 1923-2012) was chief designer for Glidden Pottery from 1952 to 1957.

- Sergio Dello Strologo -- (b. Italy, 1928-1999) designed the Alfred Stoneware dinnerware line with glazes in Saffron, Cayenne and Parsley by Fong Chow. Dello Strologo had previously worked with Russel Wright.

Fred Press

- others

Factory Closing
In the late 1950s, imported pottery from Italy and Japan began to flood the US market which had a major impact on American pottery companies. Despite continued critical success with award winning designs, Glidden Pottery was not able to compete with imports and ceased production in December 1957.

Legacy
In 2001, a major exhibition of Glidden Pottery was shown at the Schein-Joseph International Museum of Ceramic Art at Alfred University (now the Alfred Ceramic Art Museum).