Ceramics: Art and Perception No. 109

Ceramics Art + Perception sets the international standard for high quality journals dedicated to ceramic art. With a total of 120 pages, each issue contains approximately 25 substantive reviews, essays and features, covering a broad range of issues related to the field. The magazine is printed in full-colour with high-res images supporting each text. Ceramics Art + Perception continues to deliver you the best critical writing from around the world since 1991.

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2 Números

en este número

4 min.

mansfieldceramics.com BM Why don’t we have a ‘letters to the editor’ page? NM Don't people email these days? BM I meant ‘emails to the editor’. NM We should, I don't think we've ever received a bad one. BM Don't be so sure. NM I can't recall any. BM Maybe you’ve been filtering them off and sending then straight to trash? NM I haven’t, but have you? Anyway, why? BM We’ve got an email here from a wood firer whose aunt has a pristine batch of unopened early editions of Ceramics TECHNICAL and Ceramics: Art+Perceptions. NM How early? BM 1-5 in both cases. NM All good issues then. BM She wants to know if they’re valuable. NM Sure they are. Tell her they’re extremely valuable, especially if she’s a woodfirer. BM I don't think that’s what she means. NM But she'll be facing some insurmountable obstacles, things…

5 min.
contained | contenu: volume realised through clay and glass

Today’s ceramic artists apply their skills in continually new and exciting ways, addressing ideas and exploring conceptual concerns in ways their predecessors could never have imagined and people are paying attention to this evolution. Much has been written on the story of sculptural ceramics since the nineteenth century. From Gauguin and Picasso to the collector’s pieces of Bernard Leach and the British Studio Ceramic Movement, through to American Expressionism, installation and performance - ceramic artists have continuously challenged accepted norms and altered perceptions. Frequently referencing the broad traditions of craft, they have taken the opportunity to reinterpret, subvert or even exist beyond these traditions as each generation has felt, according to Edmund de Waal, “the complexity and expansion of the field for themselves, turning away from the past, doubting the previous…

7 min.
turning the uk’s royal academy summer exhibition on its head

This summer there have been two unusual events in London. The first being extremely hot weather and the second, that a ceramic maker (the enigmatic Grayson Perry) coordinated the Summer Exhibition at the Royal Academy (RA). This year, the Royal Academy celebrates its 250th Summer Exhibition, and is firmly established as part of the national tradition of the UK. It is the world’s largest open submission contemporary show by exhibiting a range of art being made in this moment, in tune with the theme of ‘Art Made Now’. For the first time, the Summer Exhibition spreads across the new RA and spills out onto the streets of London’s West End. Grayson Perry RA, in his role of coordinator, encouraged artists to enter work by issuing this statement: Fellow artists! 2018 marks the 250th…

7 min.
ji-sook lee’s recent works: from scholar’s accoutrements from the past to female objects in the present

Ji-Sook Lee, a Korean ceramist, newly appropriates an old Chaekkado (Scholar’s accoutrements) by using acrylic paint on terracotta. A pile of sorted books and Obangsaek, using the traditional five colors in Korea, draw our attention to stuff easily found around us, rather than the old item. Chaekkado is the landscape of the male study room. Scholars of the Joseon dynasty boasted books and precious items collected for their richness and the perspective gained from them. In addition, they eased the desire for reading by lightening the mood in literary circles, a pastime considered as highly as studying. The study is full of male desire and taste, as well creating an illusion, based on the period’s original thinking that society needed men at that time. Ji-Sook Lee’s Chaekkado does not have…

11 min.
ken matsuzaki: looking for shapes the clay deserves

In my walks, every man I meet is my superior in some way, and in that I learn from him.Ralph Waldo Emerson Two years ago I was sent a list of participants for an upcoming workshop, and was surprised to see the name of a friend, Mitch Lyons. “How wonderful,” I thought. “We’ll be team-teaching,” then realized he and Meredith Wakefield signed on as class members. When we greeted one another the first day, he said shyly, “Yea, Jack, we just wanted to be in your class.” I was humbled and grateful to share daily studio time with them and we all benefited from his occasional demos. When Mitch passed away this past spring, being part of his memorial gathering made me realize I couldn’t remember taking a workshop after teaching so…

8 min.
marie woo clay odyssey: a retrospective at birmingham bloomfield art centre

This retrospective exhibition was, in an unexpected way, a glimpse of another time and a different mindset. Marie Woo (b. 1928), active in ceramics since the 1950s and a noted teacher and curator in addition to being an active creative artist, is not the career-oriented, technically masterful potter of today. In this show, the 52 works were untitled and, more shocking, undated – other than a few labeled with a decade. Woo didn’t keep records but just enjoyed the engagement with the material and experimentation with form. And she still does. New works in the show were unfired because her kiln isn’t working; she treated that not as a limitation but as an opportunity to be playful. Small nodules of bright blue clay were adhered to wires hanging from a…