For the fifty years of its existence, the Archie Bray Foundation has been a continuous, unique, and important center for the arts. Archie Bray envisioned his pottery as a place where young artists could use the brickyard's clays and kilns, hone their skills, learn from each other, and develop a sensibility about the Foundation's signature production ware. In 1951, Peter Voulkos and Rudy Autio became the Bray's first two resident artists. By the start of the 1960s, they had accomplished a revolution in the concept of ceramic art. A series of resident directors, themselves artists, have overseen the development and expansion of the Bray Foundation's programs and workshops. An ever-increasing number of young artists continue to find support and inspiration there, largely because of the three rugged individualists who gave it life and impetus. "It is a place," writes curator Peter Held, "where people come of age, finding a niche in the centuries-old continuum of the ceramic arts." 
"You get notorious when you start a pottery in the middle of the wilderness," Peter Meloy reflected, looking back on his own backyard pottery beginnings in Helena, Montana, in the late 1940s. Meloy went on to a career in law but remained actively connected with the arts, as did Branson Stevenson of Great Falls, a versatile artist and businessman. They became two of the three original board members of the Archie Bray Foundation for the Ceramic Arts. The other member and founder, Archie Bray, owned a brickyard that, even if at first notorious in its western isolation, became the nexus of contemporary ceramics in America. 
This fiftieth anniversary publication offers a history of the Archie Bray Foundation, an evaluation of its accomplishments, and a discussion of 85 works selected from more than 800 in the Bray collection. Through interviews with artists, resident directors, workshop presenters, and the late Peter Meloy, and drawing on the resources of the Foundation's archives, Rick Newby and Chere Jiusto present its always lively, occasionally conflicted, and unfailingly interesting history through the voices and letters of those who knew it best. Art historian Patricia Failing considers the aesthetic and intellectual influences of the Bray experience upon artists who worked there, and on their later work. She examines the profound effects that a seminal workshop of 1952, presented by legendary potters Bernard Leach, Shoji Hamada, and Soetsu Yanagi, had upon the Bray's resident potters, and subsequently on the entire concept of ceramic art in America. Art critic and writer Janet Koplos discusses the unique circumstances that gave rise to the Bray collection and gives a close reading of the 85 objects selected for the book. A Ceramic Continuum also includes a listing of all Archie Bray Foundation resident directors and artists and of workshop presenters over the years.

A Ceramic Continuum: Fifty Years of the Archie Bray Influence

Arts & Photography

Failing, Patricia

Jiusto, Chere

Newby, Rick

Koplos, Janet

Collections, Catalogs & Exhibitions

Univ of Washington Pr

Founded in 1890 against the backdrop of the lush Bitterroot Valley, the town of Hamilton's history revolves around timber, the railroad, and agriculture. Hamilton owes its early history to copper baron Marcus Daly, whose Anaconda Company sawmill and private Bitter Root Stock Farm dominated the community through the late nineteenth century. The drama of the twentieth-century apple boom and the saga of the battle to cure Rocky Mountain tick fever enrich the town's more recent past. Drawing the reader into the historical mosaic that is Hamilton, Montana, with architectural and historical information on town and valley history, buildings and historic sites, this guide is a treat for all those who would explore "the jewel of the Bitterroot."

Montana Mainstreets, Vol. 4: A Guide to Historic Hamilton

History

Americas

Montana Historical Society Press

Hand Raised: The Barns of Montana

Explore the hayloft, stalls, and hardware of a Montana barn and you will learn much about the state’s farm and ranch traditions. Crib barns, with walls of timber stacked like Lincoln logs, show the influence of French-Canadian and Scandinavian immigrants. Gambrel-roofed barns, which shed heavy snowfall and provide roomy haylofts, tell of the long Montana winters that necessitated ample hay storage. Tack rooms, once filled with harnesses and gear, tell of workhorses given shelter in heavy-duty stalls nearby.
Beyond their utilitarian functions, barns are simply beautiful. Some stand proudly, their freshly painted red lines contrasting sharply with the golden wheat in surrounding fields. But some, less fortunate, are falling into disrepair. Marked by rotting timbers and broken windowpanes, these crumbling buildings still have much to teach us. Historic Barns of Montana presents the best, most unique, most significant, and most beautiful of these barns. Photographer Tom Ferris explored barns inside and out across Montana, snapping the hundreds of photographs in the book. Authors and architectural historians Chere Jiusto and Christine Brown help readers understand the significance of what they are looking at and tell the stories of individual barns.
 Historic Barns of Montana recognizes these buildings as both useful and beautiful, encourages their preservation, and honors the ranch and farm families that built them.

Brown, Christine

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Books by Jiusto, Chere