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Résumé and Experience

Educational Background:
1969-1973, Otis Art Institute, Los Angeles, CA. B.F.A. and M.F.A. Degrees
1971, Southwest College, Los Angeles, CA.
1971, Trade Technical College, Los Angeles, CA.
1968, Belgium Antwerp Academy, Province of Antwerp, Belgium.
1963-1967, Colorado State University, Fort Collins, Colorado.

Work History:
Previous College or University Positions:
1986 to 1988: President, Program Director and Curator of the Charles White Foundation,
Altadena, CA.
1986: Assistant Production Manager, Ujamma Telecommunciations, Los Angeles, CA. Responsibilities included editing, set design, post-production of video films that were related to paintings and other Fine Art forms. 
1985: Instructor, Ceramics and Intro to Design, LACC, Los Angeles, CA.
1983: Ceramics Instructor, Barnsdall Art Center, Los Angeles, CA.
1981: Instructor of Ceramics, Otis Art Institute of Parsons School of Design, Los Angeles, CA.
1978: Lecturing and Advising in Glazing Calculation, kiln building and clay composition, Ife University, Nigeria, West Africa.
1974: Instructor of Ceramics, Cal Poly University, Pomona, CA.

1985: Florida A&M University, Art Department, Tallahassee, FL.
1982: University of Houston, Art Department, Houston, TX.
1982: Texas Southern University, Art Department, Houston, TX.
1979: Gadsden Jr. College, Art Department, Gadsden, AL.
1976: Pacific Oaks College, Art Department, Pasadena, CA.
1975: Compton College, Art Department, Compton, CA.
1974: Colorado State University, Art Department, Fort Collins, CO.
1973: West Los Angeles Junior College, Art Department, Los Angeles, CA.
1973: Crenshaw High School, Los Angeles, CA.
1973: Chula Vista College, Chula Vista, CA.
1970: Watts Tower Art Center, Watts, CA.
1968: Belgium Antwerp Academy, Province of Antwerp, Belgium.
1968: Ife University, Art Department, Nigeria, West Africa.

Teaching and Professional Experience Related to Community Arts Programs:
1967 to 1977: Instructor of Art, Pasadena Art Workshop, Pasadena, CA.
1976 to 1977: Instructing handicapped students, Mattinnii Studio, Altadena, CA.
1973: Potter, Tony Hill Ceramics Studio, Los Angeles, CA.
1972: Potter, Clay in Particular Studio, Los Angeles, CA.
1971: Ceramic Instructor, Raymond Burr and students, Hollywood, CA.
1969: Ceramic Instructor, Studio Watts Workshop, Los Angeles, CA.
1969 to 1972: Park and Recreation Instructor, part-time, Los Angeles, CA.

Publications and Related Activity To Date:
Photographic reproductions of my major works and articles concerning my work have appeared in the following newspapers, magazines, books and television programs:
1988: Author, Nathaniel Bustion - Original Prints and Sculptures:
1. Rites of Passage Series
2. Resurrection of Egyptian Mummy Series
3. African Mask Series
4. Marketing Fine Art
1987: Habor area chapter, The Links, Inc. The Directory of Black Artists and Art Resources. Front cover - "The Madonnas."
1970: "The J.P.C. Art Collection" (pamphlet), Johnson Publishing Company.
1970: Contemporary Crafts, Publisher, Samella Lewis.
1960: McGraw-Hill Book Company, school textbooks.
1970: Perry, Regina, Afro-American Artists.
1969: Waddy, Lewis, Black Artists on Art, Vol. 2.
1981: Studio Potter magazine, Daniel Clark, Foundation Publisher.
1983: Levin, Elaine, History of American, Watson-Guptill Publications.

Professional Travel:
1977: Second World African Festival of the Arts, Lagos, Nigeria, West Africa, Exhibition and Lecture.
1977: Invited by the head of the Art Department to lecture and assist in building ceramic program.
1968: Belgium Antwerp Academy, Province of Antwerp, Belgium, Exhibition and Lecture.
1968: In conjuction with Belgium Antwerp Academy, I developed a series of travel research projects designed to develop my concepts in ceramics and ceramic sculpture. I have traveled to the following countries: Belgium, Spain, Africa, Holland, Portugal, and several others.

Professional Experience Related To Curational Activities for Museums, Universities and Community Art Centers:
Pasadena Society of Arts, Pasadena, CA. Assisted Pasadena Arts Society in curational actvities, was assistant to the director. Assisted in all facets of programming at the center, including budget preparation, program scheduling, gallery exhibitions, and coordinating lectures. Curated center's exhibits. Assisted with preparation of several college and community exhibits.
1972: Black Art Council Scholarship Award, Los Angeles, CA.

Major Exhibitions:
1986: Group Show, Pasadena Centennial Art Exhibit, finalist, Pasadena, CA.
1985: Group Exhibition, Bangkok University, Bangkok, Thailand.
1985: "Fusion 85", group show, Jewish Art Center, Los Angeles, CA.
1985: "A Salute to Black Artist", Pasadena, CA.
1985: "African Art Symposium", Group show, Arizona State University, Tempe, AZ.
1985: Group show, United Nations, Geneva, Switzerland.
1984: "One Man Show", Visual Ascension, Dallas, TX.
1983: "One Man Show", Friedland Gallery, Bern, Swtizerland.
1982: Group Show, "The Magic of Clay", Loker Gallery, Californian Museum of Afro-American History and Culture, Los Angeles, CA.
1982: "California Black Printmakers, A Traveling Exhibition," California Museum of Afro-American History and Culture, Los Angeles, CA. This show traveled for two years throughout the United States and West Indies.
1981: "One Man Exhibition", Gadsden Junior College, Gadsden, AL.  (Collagraph Prints).
1981: "One Man Show", Geneva, Switzerland.  (Collagraph Prints).
1980: Group Exhibition, Asungi Cultural Center, Pomona, CA (ceramic sculpture and pottery, collagraph prints).
1980: Group Showing, Tanner Art Gallery, Detroit, Michigan (collagraph prints).
1979: "One Man Exhibition", Colorado State University, Fort Collins, CO (oil paintings, stoneware and raku sculptures).
1977: "California Black Artists," Studio Museum in Harlem, N.Y., "Invitational Clay Two." Riverside Art Center and Meseum, Riverside, CA.
1976: "Four Los Angeles Area Artists," University of Southern California, Los Angeles, CA.
1975: "One Man Show," Compton Community College, Compton, CA. 
"Black Artist in Calfornia," State Capital Building, Sacramento, CA.
"African Heritage in Contemporary Western Reality", Malone Art Gallery, Loyola Marymount University, Los Angeles, CA.
"West Coast Black Artists," Union Gallery, Cal Poly University, Pomona, CA.
"Varying Directions of Contemporary Black Artist," Otis Art Institute, Los Angeles, CA.
"Two Man Exhibition," with Arthur Zeigler, Heritage Gallery, Los Angeles, CA (stoneware glazed vessels and vases, pastel drawings).
1977: Group Showing - Charles White and Nathaniel Bustion, September 14, Barnsdall Municipal Art Gallery, Los Angeles, CA.
1973: Otis Art Institute Gradute Show, Los Angeles, CA. One Man Show, Colorado State University, Fort Collins, CO (oil paintings).
1972:  Otis at the Music Center, Dorothy Chandler Pavilion, Los Angeles (pastel drawings).
1971:  The New Renaissance in Art, Brockman Gallery, Los Angeles, CA.
"One Man Show," Brockman Gallery, Los Angeles, CA (pastel drawing and ceramics).
Group Show, Los Angeles, County Museum of Art (oil paintings).
Westwood Art Center Group Show, Los Angeles, CA.
1971: Pepperdine College, Los Angeles, CA (oil paintings).
1968: National Watercolor Society Group Show, Los Angeles, CA.
1990: One Man Show, Colorado State University, Fort Collins, CO.
1992: African American Museum - No Justice, No Place - Los Angeles, CA (Exposition Park).

University, College, and Community Courses I Have Taught:
Introduction To Clay Ceramics
The emphasis of this course is to introduce and guide the students towards the paddle, slab, mold, and pinch with an emphasis on the coil method. Decoration techniques will be introduced with an emphasis in piercing, sgraffito, wax resist, glaze dipping, and oxide painting. The purpose of the main course is to aide the student in understanding beginning ceramic, hand-building techniques.

Intermediate Ceramics
Ceramics 210 as a lower division ceramics class for Art majors. This course is designed to introduce the serious art major to problem solving in ceramics. The following techniques will be introduced:  Wheel throwing, kiln Loading, glazing experience, and kiln firing stages.

General Ceramics
The emphasis of this course is to expose the student to ceramics as an art Form. In this class, the student must deal with concepts, processes and materials. The concepts must be transformed into functioning ceramic objects. In conjunction with the above concepts, the following techniques will be used: extension throwing, porcelain clay, body exploring, relief mirror making, face mold making, Raku exploring.

Advanced Ceramics
Advanced Ceramics is a study of specific materials and/or combinations of materials and techniques. The Advanced student selects the projects and materials. This course is a designed for ceramic majors. Therefore, my role as an instructor changes. The students needs more freedom to think and explore new concepts. When the student reaches this level, they are responsible for seeking information and developing their own concepts. Advanced techniques will be used in conjunction with specific materials and combination of materials. The following techniques will be used: glazing calculations, slip mold casting, clay bodies research, and experiments in exploring life-size sculpture forms.

Types of Firing Emphasis
Because of the gas prices in the United States, I have found it more economical for students to get involved in low firing techniques, as a major part of their firing experience. Because of my involvment and study with many of the world's leading ceramicists like De Staebler, I have developed a series of low-firing techniques, designed to give the following effects: speckle effect, earth tone matt effect, glaze separation, high relief effect, low-firing porcelain effect, low-fire waxy white cracking effect, low-fire ash effect, low-fire Raku, salt engobes effect, and the use of decals and low-firing lusters.

Mentors and Teachers I Have Worked With:
1965: Dr. Peter Alexander
- Research in Fundamental and Technology Of Western Ceramics
Dr. Alexander, professor of ceramics at Colorado State University. Dr. Alexander was very prolific in relating different ceramics methods to an art form. Examples include textures, color, reliefs, designs and shapes. These were some methods that went into the crafts of his other works of art. He talked about the sensitvity that went into an art experience. He also talked about the clay body stages; greenware, bisqueware, earthenware, stoneware, the importance of the firing stages that pieces of pottery goes through, the oxidation or reduction firing, and the importance of how you stack pottery into the kiln for the best results.

1969: Professor Helen Watson - Research in the Intermediates of Western Ceramics
Professor Watson, Otis Art Institute, Los Angeles. She is very prolific in large slab sculptures, large Jamin Coil sculpture, thrown forms and the technological aspects of functional ware. Her large sculpture involves all of these apects in one work of art. I spent four years with Professor Watson.  This is where I received my Master of Fine Arts degree.

1971: Shelton Kaganoff
Shelton Kaganoff, U.C.S.B. Ceramics Department, Santa Barbara, CA. Some of Professor Kaganoff's experiences in ceramics were related to the new abstract forms of the 70s. This smoke reduction and low-fired lusters are an example of this. Professor Kaganoff is productive in mastering the pottery wheel, especially with large pieces. I worked with Professor Kaganoff for eight months.

1975: Professor Dora De Lorios
Understanding architectural related to pottery and mural design, with a strong Mexican design influence. Miss de Lorios has taught at many major universities and has done many commissions all across the country. She has had a studio for the last 15 years in Culver City, CA. Dora De Lorios was a student of Susan Peterson. Dora's latest work reflects the strong influence of Indian and Mexican pottery. Her work also influences Mexican positive and negative designs. Dora has developed a porcelain body and block glaze, which the world has never seen. It is related to the old Pueblo and Mexican traditions, just to name a few of her achievements. I was very fortunate to study at Dora's studio for one year.

1976: Stephen Staebler
Stephen De Staebler, San Francisco State University. De Staebler is known for his large monumental life-like forms, abstract forms and large wall murals, all having many natural earthy color clay tones. Upon visiting De Staebler's studio in Berkley, CA, he received me with open arms and adorned me with knowledge he had acquired over the years. This knowledge included such things as mold making, Kiln building, transporting large works into the Kiln, various mixtures of many color clay bodies.  I also recieved strong valid information concerning my own work. As a result of my visit and tutelage, I was able to return to my studio and successfully build my own kiln.

1977: Doyle Lane
Doyle Lane, Student of Carlton Ball, Los Angeles, CA. Doyle Lane is very prolific in the decoration of forms and low-fire ash glazes. Mr. Lane has achieved the knowledge of making earthware glazes look like stoneware. It is done through oxidation firing and changing the molecular weight of glazing materials. He introduced to me a whole new outlook on glazing concepts.

1980: Carlton Ball
Carlton Ball, Head of Ceramics Department. Carlton Ball is very knowledgeable of the various phases of ceramics. Professor Ball was very helpful to me in the research of form related to forms, and extension throwing of large totem sculpture. He also assisted me with glazing experimentations.

1980: Marsha Johnson 
Research Into Decals Related To Ceramics
Marsha Johnson, Ceramiscist, Grant High School, Van Nuys, CA. New experiments into decal and special glaze effects. Miss Johnson has worked and experimented over the last seven years in decal decoration. I spent one summer in her studio in Los Angeles. This information and experience was very valuable in the growth of my work.

Other Related Fields Of Art:
I have coordinated workshops and lectures related to the following university and college courses: Printmaking, painting, basic sculpturing, Introduction to Art History, African Art History and Art Appreciation. I have taught the above subjects at the following universities and art centers:
Lectured Afro-American Studies, Cal State Dominquez, 1980-1981.
Workshop, Black Studies Department, Cal State University, Long Beach, lectured 1979-82.
Ethnic Lecture and Workshop, Watts Towers Arts Center.
Lecture and Workshop, Studio Watts Workshop, 1978-1979.

Other Related Ceramics Research Experience:
1. Changing of the form - 1980, Pasadena City College. Demonstration by Professor Peter Voulkos.  I was introduced to the thrown and paddled hand built and assembling sculptures.
2. Pueblo Indian Pottery Technique, 1979 demonstration at U.S.C., Maria Martinez. Several concepts Maria used later influenced my design concepts in relief sculpture.
3. Raku Demonstrated, 1972, Otis Art Institute, Paul Soldner. Several Raku concepts were discussed with Mr. Soldner that I later used in my teaching and professional career.
4. Yvonne Tucker, demonstration in Raku smoke reduction, 1975, Florida University. This demonstration in Raku started a series of engobes reproduction in my work.
5. Research on under colors technique and wheel throwing.
A. Micheal Frinkess - Venice, CA.
B. Susan Peterson - Mills college.
C. Bernard Leach - his book.
D. Shoji Hamdi - his book.
E. Daniel Rhodes - his book.

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