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Creative Teaching Ideas -- see Bartel on Facebook -- for new work photos March 2014 Exhibition Work
-- Bartel Artwork --

Skyholder 5 Table 2006 - Marvin Bartel

This stoneware table is 16 inches high, 42 inches in diameter, has a glass top, walnut knees and hands, and casters to allow it move easily. In 2006, it was part of the 28th Juried Regional Exhibit, Midwest Museum of American Art, Elkhart, Indiana. Contact me if you would like to purchase it. It is photographed on a locally grown hickory floor in our dining room. The flowers are in vases that contain water.

See Selection of 20 Bartel Sinks, Fireplaces, and unique Tile work from 2000 to 2010 - posted 2-19-2010 - Order yours now.

"MARVIN BARTEL: Teacher, Artist, Innovator"
Read howideas are developed. See the sink and mirror that was previously posted on this page. It has been sold, but you can order similar items.

South Face of Bartel Studio Designed and constructed from locally milled lumber

by Marvin Bartel in 1980. Double south facing glass had
a previous use as patio doors.
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Bartel Family Residence Vertical siding is locally grown Indiana poplar.

Designed by Marvin Bartel, constructed in 1972
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Tea HouseDesigned and Constructed by Marvin Bartel, 2006

The materials were milled from oak trees that were harvested
from the ground it occupies
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Creative Teaching Ideas -- see Bartel on Facebook -- for new work photos March 2014 Exhibition Work -- Bartel Artwork -- Skyholder 5 Table 2006 - Marvin Bartel This stoneware table is 16 inches high, 42 inches in diameter, has a glass top, walnut knees and hands, and casters to allow it move easily.

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Classifications of Clay Types - ArtMolds

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ArtMolds introduction various families of clays that available to the artist, modeler, sculptor and ceramist and its applications.

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What happens when a pinch pot after pinch pot is connected using scoring techniques?

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Maria Martinez Biography:Few craft artists, Native American or otherwise, can claim worldwide fame and appreciation, but these accompanied the life of potter Maria Martinez of San Ildefonso Pueblo. Through her hard work and generous sharing of her techniques, Maria reintroduced the art of pottery making to her people, providing them with a means of artistic expression and for retaining some aspects of the pueblo way of life.

San Ildefonso Pueblo is a quiet community located 20 miles northwest of Santa Fe, New Mexico. Inhabited since A.D. 1300, the pueblo saw many changes that resulted in a rich culture, in which ancient traditions mix with Spanish festivals and Anglo conveniences. Life in the Tewa-speaking village on the Pajarito Plateau is filled with love for one's neighbor and respect for the God-given gifts of the earth. Into this community, at a time of great transition from isolation to increased contact with other peoples, Maria Antonia Montoya was born, probably in the year 1887. For nearly one hundred years, until her death in 1980, Maria lived in the pueblo, eager to greet visitors and to share her craft with those who would like to watch and listen.

Maria's fascination with pottery-making started at a young age, when she would watch her aunt making pots, after her chores were done. Although many women in the pueblo knew how to make pottery, by Maria's time it was no longer a necessary part of daily life. Inexpensive Spanish tinware and Anglo enamelware had replaced traditional containers and cooking pots. In many ways, the art of pottery making was facing extinction. Fortunately, Maria's interest and willingness to experiment with techniques prevented this from occurring.
Photo Courtesy B. Schroeter
Not long after her marriage to Julian Martinez, Maria was asked to replicate some pre-historic pottery styles that had been discovered in an archaeological excavation of an ancient pueblo site near San Ildefonso. These excavations of 1908 and 1909, led by Dr. Edgar Lee Hewett (who was also the director of the Museum of New Mexico), produced examples of many pre-historic pottery techniques. Dr. Hewett asked Maria, who already had a reputation in the pueblo for being an excellent pottery-maker, if she could make full-scale examples for the museum of the polychrome ware. It was then that Maria and her husband, Julian (who painted the designs on the pottery after Maria shaped them), began an artistic collaboration that would last throughout their lives together.

Maria and Julian refined their pottery techniques and were asked to demonstrate their craft at several expositions, including the 1904 St. Louis World's Fair, the 1914 Panama-California Exposition in San Diego, and the 1934 Chicago World's Fair. Part of their success came from their innovations in the style of black-on-black ware.

Although other pueblos, such as Santa Clara, had been producing black wares, Maria and Julian invented a technique that would allow for areas of the pottery to have a matte finish and other areas to be a glossy jet black. Through experimentation that began in 1919, they created a style that would become world famous.

Part of the unique-ness of San Ildefonso pottery is the clay that is used, which comes from their reservation. Dried clay and volcanic ash are collected yearly from selected locations throughout the reservation, and later combined with water in small batches. The clay from each pueblo has its own mineral composition, allowing for rich differences in texture and color. The watery clay slip that is used on the black wares, for example, has a rich iron content that turns black when fired in a particular way.

After a batch of clay is mixed and has set for a few days, a "pancake" of clay is formed and pressed into a puki, beginning the process of building a pot. The puki is a bowl-shaped form that supports the bottom of the pot as it is being built. Most commonly, pots are formed with a coil technique, in which long snake-shaped coils are circled around the base of the pot and blended together to create the walls of the vessel. A potter's wheel is not used in traditional pueblo pottery making. When the height and the amount of clay are just right, the walls of the pot are smoothed and shaped into curves with pieces of gourd, called kajepes.

The pot is left to partially dry after the form is completed. In its semi-dried state, the pot is ready to be scraped, which refines the shape and removes any irregularity. Then the pot is sanded with sandpaper to rid it of any grit. The red slip is applied next, and the pot must be burnished with a stone before the slip dries completely. This step is most critical for the glossy nature of the black wares.

A decoration is painted onto the polished surface, resulting in matte areas once the piece is fired. Traditionally the men of the pueblo do the painting, but women were taught the process and painted during the times that the men had left the pueblo for work. Julian replicated and was inspired by many pre-historic designs. He was fond of many motifs, using ancient symbols in new combinations. He often painted the avanyu, the horned water serpent, which he saw as a symbol for the rush of water after a hard rain, and as a metaphor for the pueblo itself.

Black wares become so in the firing process. This labor-intensive task is done after many pots have been made, to maximize efficiency. Wood and dried cow manure are piled around an iron grill, upon which the pottery has been carefully stacked. The pile is lit and left to burn for a specified amount of time, until the fire has reached its maximum heat. At this time the fire is smothered with ash or fresh manure, producing a smoke-filled reducing atmosphere that turns the pots black. Variations in the process can produce pottery with black areas and red areas, which are also popular.

For many years, Maria and Julian produced their pottery together amid raising a family and carrying out traditional duties for the pueblo. Their children were taught the importance of the craft, and they participated in various ways. After Julian's death in 1943, Maria began working with her daughter-in-law Santana Martinez. Santana provided the painted decoration that was her father-in-law's legacy. After 1956, Maria also worked with her son Popovi Da. It was Popovi who helped market her work, building a shop at the pueblo and speaking about the pottery tradition of San Ildefonso at lectures across the country. One of the family's most innovative potters is Maria's grandson Tony Da (1940-2008). Tony combined sculptural techniques with traditional forms to create unique forms. Due to a motorcycle accident, Tony no longer makes pottery, but he continues to work as a painter. Many other family members and people from San Ildefonso continue to make pottery, carrying on the tradition so openly shared by Maria.

Maria signed her pieces several different ways over the course of her life, and to some extent, these signatures can help to date her work. At first, she signed her pots "Marie" because she was told that this name would be more familiar to those who would buy her work. Through the years her pieces were signed "Poh ve ka," "Marie," "Marie & Julian," "Marie & Santana," "Maria Poveka," and "Maria/Popovi."

Since her death in 1980, the pottery of Maria and her family has become increasingly more collectible and difficult to find. J. Mark Sublette, Medicine Man Gallery continually searches the country for fine examples of her work.
Photo Courtesy Laura Gilpin, Santa Fe
Tony Da Biography: Tony Da, (pronounced day) was the grandson of Maria and Julian Martinez, and the son of Popovi Da all were talented potters and masters in the art of watercolors. Popovi Da Tony's Da's father was born Anthony Martinez in 1922; his Tewa name was Popvi Da which he legally changed in 1948. To understand Tony Da's artistic career, one must start from his artistic influences.

Julian Martinez, Tony Da's grandfather, was the first to create black on black pottery when polychrome pottery was the mainstay of San Ildefonso pueblo. Popovi Da, Maria and Julian's son began making his pottery in 1962 and experimentation with different pottery types. In 1964 Popovi Da made a pot he referred to as "Carmel" which became known as Sienna. In 1967 Popovi Da added scraffito, (incised design elements) to his pottery and inlay turquoise a first for a pueblo potter. This process his son, Tony Da would take to another level of artistry accomplishment.

Tony Da was born in 1940 Anthony Edward Da also known in San Ildefonso as Thun-Phoe-She or Sun Dew. Tony learned to make pottery from his famous Grandmother, Maria Martinez after he finished his Navy duty in 1964. Tony lived with Maria Martinez and began his apprenticeship at twenty-six from one of the most well-known pueblo potters. Maria encouraged Tony to become a potter and " go ahead and make good pottery".

Tony Da would make thinner pots than his grandmother Maria Martinez, and over time he began his own style. He first started producing pottery that he signed in 1967. In August of that year he entered the Gallup Inter-Tribal Ceremonial and won four first-place awards and one second for pottery. His pottery career had begun in a spectacular fashion and was recognized in the "Albuquerque Journal" for his excellence.

The first signature used 1967-68 was D'a or D'A from that point on he would use simply DA, he used this same signature for his paintings from 1975-1982. Tony would use carve his DA usually on the bottom of the pot after firing and used a beveled appearance a characteristic of his signature.

With Maria Martinez's encouragement, he switched the majority of his time from painting to making pottery. In Tony's mind, he was always a painter, but most of his fame came from his ornate pots.

Tony was known for his intricate designs, inlay and unusual forms. The avanyu or plumed water serpent was a favorite of Tony's. He also employed numerous designs from the prehistoric Mimbres culture of southern New Mexico. Like his grandfather Julian Martinez, he liked to use a feather motif. Deer and Buffalo imagery using a heart line design were also favorite. Like his father, Popovi Tony Da used inlay turquoise in his pots, but Tony took the endeavor to a new level using large high-grade turquoise cabs, heishe, and Zuni inlay motifs. Animal pottery including turtles and bears, which became a trademark for the artist. His intricate turtle designs have brought some of the highest prices of any of Tony Da's pottery styles.

His Great Aunt Clara, Maria Martinez's sister, who was deaf, was known in the family as one of the great polishers of clay. She would help Tony polish his vessels until she retired around 1978-1979. Popovi would help Tony fire his pots, often using a gunmetal finish a process that Popovi had perfected which required an extremely hot fire and careful use of fuel to keep the fire's oxygen reduced yet to burn very hot. This gunmetal slip is now considered some of the most desirable finishes on pueblo pots.

Tony Da is considered to be one of the finest pueblo potters. His artistic life was cut short on April 15, 1982; he was only 42, a motorcycle accident left him damaged for life. Tony Da had hit his unprotected head when he laid down his bike, which caused a significant brain trauma. The accident robbed him of a long career, not unlike his father Popovi who died in 1971 at age 48 and his grandfather Julian Martinez who died in 1943 at age 46.

Tony would continue to make occasional watercolor paintings in a much more simplistic design but would never return to working with the clay.

His legacy however is insured with the exquisite varied pottery he left the world, which can be found in most of the major Southwest Museums. The Millicent Rogers Museum in Santa Fe has one of the best collections of Maria Martinez and Tony Da pots. A seminal book on Tony Da "The Life and Art of Tony Da" is a must read for those who appreciate the artistic talent of Tony Da.

Permission to reproduce photos and paintings in this online catalog secured by J. Mark Sublette. All rights reserved. No portion of this online catalog may be reproduced in any manner whatsoever without written permission from J. Mark Sublette, Medicine Man Gallery, Inc.

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Maria Martinez Biography and San Ildefonso Pottery - Maria Martinez Pottery

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Maria Martinez Biography, San Ildefonso Pottery, Tony Da Biography and Maria Martinez Photographs. Learn how Maria made her Pueblo Pottery and signatures.

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Access Google Sites with a personal Google account or Google Workspace account (for business use).

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ART21: How did you find the brick factory in France, where you made your clay pieces, and why did you choose to work there?

OROZCO: I was interested in working in a brick factory, more than a ceramic workshop. I was interested in the clay used to make bricks-more terra cotta, kind of porous, and more massive. I am interested in the weight of my hands in this clay and the manipulation of a certain amount of clay in relation to my body against a table and two or three spheres. So, this combination of elements: geometric and organic. Organic-my hands, my body. And geometric-the table or the spheres. And mass, which became a mass in movement, eroded by these forces. Normally when you do pottery, you try to make a pot or something, but you are very much aware of this empty center space. In this case, I was not so interested in the center, but a mass. That mass is compressed, moved, extended, eroded by these forces. And for that reason, I needed a clay that was special.

The workshop in France has this. It used to be a brick factory before, and now it's a ceramic workshop. They have these machines to produce the combination of clay that I need, very fast. You can almost have a small industry or process. You can have this mechanically [produced] quantity of clay, and then my body can act mechanically. It was very important that my body become a kind of organic machine of constant movement, doing almost a mechanical movement with the clay-that constant. It was an activity that needed some rhythm-connected with the machine producing the clay, bringing it to the table, and then myself doing it-as a constant. So, in one day, you can do a whole amount of hours, like a worker doing a mechanical thing. And for me, that was important. Not so much one object, but more a kind of body machine doing this action with the clay.

ART21: Are you more interested in the activity of the making or in the end result?

OROZCO: I don't separate the making and the final result; I don't separate the two. I think the balance, for me, is very important-the balance of the making of something. This making is part of the final result, is part of the final end of the story. And that's why, again, the body in action, the individual in action, in relation with the social space, the social materials, and economics of these is very important. At the end, you have an object, an installation, an image that reflects that relationship-between that individual, the social materials, the social displays-and the connection between dialogue and the negotiation between private space and public space in every object. And so, that's why for me, the making of the work and the political implications of the making-how you make things-is part of the final result of the work. That's why, you know, I don't have a studio. But if I need a factory for something, or a workshop in France to produce this type of activity, I do it.

ART21: What's the impetus for these pieces? You're thinking of making some work, thinking of clay, and you have an idea of the result, your goal?

OROZCO: First, I decide where I would like to be, in terms of geography. That's the first thing. It's like, "Well, okay, I want to be by the ocean, or in the city, or in hot or cold weather, or I would like to be in the countryside or in the city for that time." And then, also, at the same time, I'm working on ideas. So, I try to add my ideas to this location wish.

In the case of France, I wanted first to do this pottery project. I wanted to use a turn, which I never did before, and do these interventions with the pots in the turn, circulating. And then I was smashing it with things, and then I was doing other fragmented pots. I was interested in the pots. Then we found this workshop, and the clay that I needed was there. I choose a place because of the idea, but also because I wanted to be there, in France. If I really wanted to be in Mexico, I will do it in Mexico, which will be probably a different thing because of the different conditions of work in Mexico. At that point, I wanted to do it in Europe, and especially in France. So, it's a combination of location and the idea and just finding that situation all together to make the work. But the idea is very important.

ART21: So, why pots? It seems so basic.

OROZCO: It's the space of the pots, lately. I guess I'm thinking a lot about the pots as a space of transportation, conservation, everyday life, circulation. And in my work, the idea of all this is very important. Conservation, transportation-and the idea of roundness has to do with movement and transportation and circulation. So, my interest in the round or in the sphere and the circle has to do with movement and with erosion and the tendency of bodies to be round when they have to move, when they have to be exposed to contact with reality. That's why I did the Yielding Stone, which is a Plasticine stone that, when it's rolled, gets the shape and also all the dust. The contact with reality makes the shape of the sculpture.

In this case, the first idea was to make these pots, in which the turn and the circularity will make this void and this pot. Of course, they are not exactly pots. They are like plates, or they are just circular platforms in which I act, I do, I intervene. And then I call them pots because it's easy and it makes sense, and it's pots. But you can also see them as an abstract circular platform with movement and interventions. Like planets, or like disks, or like many other things. And that is a pot. A pot is a very complex instrument, and we see plenty in human history. And so, again, that can be related with Mexico if you want, but I think it can be related with Greece, and it can be related with everybody in the world because pottery is just part of history in general. And that's my interest in it.

ART21: What are you examining when making each piece? How do you know if it's done?

OROZCO: You get the brute industrial piece of clay, which is this square bunch of clay with no shape but the shape from the machine. Then I start to act on it, against the table, with the spheres, and with my hands. And with this movement, you start to get a dynamic sense of a body and of this space that is taking some shape. The clay is a recipient because it's receiving all these actions and all these forces as a mass.

When I feel that it should be ready is a quite subjective thing. But it's that the shape should represent what just happened before. And sometimes it doesn't, because maybe I overdid it or maybe there were parts that lost their memory in the mass. So, when I finish doing this action with the clay, I just check around. I move, I walk around, and I see that every face and every part of the mass represents what really happens with clarity and simplicity, and that when someone else is going to walk around or is going to take it, they too can see what really happened. And that's why, sometimes, it looks clear and then the piece is finished. Sometimes I have to do it again. Sometimes I can spend half an hour with one piece, and sometimes the other work is just in five seconds. But the criterion, more or less, is the work is finished when it represents what really happens in the action of doing it.

When an object has a logic on its own, it starts to talk of many other things. It's not that it represents anything, but it represents its own reason to exist, in a way, as a material-as clay, terra cotta, in relation with bricks, in relation with construction, with pottery, with many things, and the body. Then it's representing the movement that makes the shape. And then it can talk and express other things, suggest food, look like a fish, or something else. On its own, it has a finish and a reason that somehow justifies that it exists.

ART21: For the viewer that sees the completed show of these clay works, how are you thinking that the person will respond? Are you interested in the response?

OROZCO: Sure. Yes. Art happens in that space between the spectator and the work. It's that space in between that finalizes the work of art. And in the case of the terra-cotta works, they are especially artistic-on the one hand very artistic, on the other very hermetic.

But then, they were also for me very mysterious. I was trying something I never did before. When you are doing this, you are doing it for yourself, because you will be a spectator also. And when you finish this that you are trying, you will also be in the position of the spectator. And I don't like the word spectator, because a spectator is passive, and I don't think the spectator should be considered passive. It should be more like activator or something like that. So, it's that person who is going to activate that work or the object or the photograph in their brain, and they're going to start to make it work, make it happen, in terms of memory, emotions, et cetera.

As an artist, when you do something that didn't exist before or that you never saw before, you need to do it because you are going to later on be the activator of that. I see it for the first time after I finish, right there, fresh. And sometimes it works, and sometimes it doesn't. It's a subjective thing. Sometimes I let it go even if it doesn't work so much for me. I say, "Well, let's wait and see; just take it out." In the case of the clay pieces, I am quite easy with them. I let them go. And I take it quite light, in that sense. Just go on, see what happens.

ART21: What happens after you think a piece is ready?

OROZCO: After I feel it's ready, when the action is enough in the clay, then I just go for the next. And then this one goes out and has to dry for two months because there's quite a lot of water inside the clay; and it's massive, and so it has to dry for a long time. And we fire the clay with wood. The firing is also hazardous because there can be quite a lot of accidents, and it can crack the piece, and also the color variation is uncontrollable. That is nice, too. It really looks like a brick-the different tonalities. It's a very straightforward process: classic, simple. I'm not so interested in colors and finishes. It's just a regular kind of brick production.

ART21: When you installed the show in the gallery, what decisions were you making?

OROZCO: In this case, I decided to use market tables that are quite common in Paris. They are wood panels with metal legs, and they use them in the markets outdoors. So, there is the transportation-very flexible, very easy to move. So, I display these tables, and on each table, I put one or two pieces. I think this was a nice connection because some of the pieces look a little bit like food, or bread, or fish, or a recipient of some kind of food. And then I thought it was appropriate to have that reference to all these things in the market. And in the case of the piece in Documenta, it was altogether a group of forty variations of plates and pottery. And in this case, they were more like single pieces on tables.

ART21: Were those allusions to food intentional, or did they just happen?

OROZCO: I think they just happened. I was not thinking so much, when I was doing the work, that it has to look like bread, or it has to look like a fish, or it has to look like anything. So, when I was doing it, it was more subjective, just like doing it in the moment. It depends also on the firing, with the color and the final shape. Some of them came out the way they did because firing clay is a very similar process to how they prepare bread or how they cook. It's similar, how I manipulate these things and how people do food and prepare things. So, in the end, it looks like that because the process of the movement of the hand is quite common in many activities. So, then you have this shape. But it was not intentional in terms of imitating. It was just a consequence of a common logical activity.

ART21: Could you talk about the process of making things with your hands versus a mental, thinking process?

OROZCO: The thinking process has many levels, and I try to explore how it is related to the body in many different ways: to be static, to be seated, to be walking, to be moving, to be looking at the ocean, in a train. To be working with my hands in a drawing, like a concentrated field, or in a more expanded field with objects in a situation, or with the clay and very physical . . . This all generates a stimulus in the brain, and you are thinking. But the connection between the brain and the body and the breathing and the sweating and the time that you spend and how you slow down thinking or you accelerate thinking is very important for me because you just generate the different aspects of thinking. I am interested in all of them. I try to combine them because I cannot just be thinking statically. And I cannot just be writing. I like to move, and I like to be more physical.

I think, in the final result of the piece, the thinking process should be evident. It should be evident, the brain that did that work. Not just the hands, not just the mold, not just the physical and technical aspect of the making. It's much more important that the intellectual aspect of the making of the work is evident in the final result of the work. I think that is what is really going to generate the space of communication, when someone looks at something that makes thinking happen in the receptor. The shape at the end has to do with provoking the space for thinking.

That's why I'm not so much concerned with words in my work, because I don't think I need words in the work to generate thinking. I think you can do it through the objects. If the objects have content and some serious thinking involved, then they are quite open to receive new thinking from the visitor.

ART21: Was there an underlying order or relationship to the placement of clay works on the tables?

OROZCO: No, there wasn't a specific order. I wanted it so that you can see each one separated as a single work. So, you can walk around, and they are on the table. They were made on a table. So, the height and the space of the table are just the appropriate space and height for the work, because it's how I was looking at it when I was manipulating it. And the table is very important in my work in general. I have these working tables and I work on a table. And for me the table is this platform of action in which we do so many things. That is very important in my work.

In the show, I did try to make connections with the photographs that I took in Mali in July. I did this trip to Mali for three weeks, and I took some photographs that are connected with the work. And they are very different, but there are some connections. Like the cemetery of Timbuktu, which I found on the trip; I found this cemetery because I was interested in the pottery and the ceramics. When I did this trip to Mali in Africa, the reason was to search for ceramics traditions, to understand, to learn, to enjoy what they do because it's a great tradition in Mali. And then I discovered this cemetery in Timbuktu.

It's interesting how the work takes you to discover places that you would never discover if not [for] doing this work. So, that connection between what you do and what you discover afterwards is very interesting. In this aspect, in the show, you have these tables with these ceramics on one side. And on the other, on the walls, you have these photographs of Mali. There isn't a direct connection. But there is something that is: evidently, the same person who is interested in these things. And there are many reasons for that.

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In this interview, Gabriel Orozco talks about his process of working with clay, and what the tactility of the medium brings to his artistic practice.

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Pottery, drawing, painting...it's a TAB Art Room!

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Inside ceramicist and artist Joan Gardy-Artigas's farmhouse studios

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Knives and Swords - (must stay in studio until escorted home by parental unit)

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Knives and Swords - (must stay in studio until escorted home by parental unit)

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Slab and Pinch Technique

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Pottery artist Samia al-Baghdadi says she wants to keep the art of ceramics alive in Iraq, in a country where it dates back several thousand years

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WATCH: Pottery artist Samia al-Baghdadi says she wants to keep the art of ceramics alive in Iraq, in a country where it dates back several thousand years

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WATCH: Pottery artist Samia al-Baghdadi says she wants to keep the art of ceramics alive in Iraq, in a country where it dates back several thousand years https://t.co/zq44mVNoFX

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WATCH: Pottery artist Samia al-Baghdadi says she wants to keep the art of ceramics alive in Iraq, in a country where it dates back several thousand years pic.twitter.com/zq44mVNoFX
— Reuters (@Reuters) July 3, 2021

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WATCH: Pottery artist Samia al-Baghdadi says she wants to keep the art of ceramics alive in Iraq, in a country where it dates back several thousand years https://t.co/zq44mVNoFX

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WATCH: Pottery artist Samia al-Baghdadi says she wants to keep the art of ceramics alive in Iraq, in a country where it dates back several thousand years https://t.co/zq44mVNoFX

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WATCH: Pottery artist Samia al-Baghdadi says she wants to keep the art of ceramics alive in Iraq, in a country where it dates back several thousand years

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K-8 Demo Lesson Topics by Grade (ELTA 2018)