Ceramics: Art and Perception No. 112

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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en este número

10 min.
waiting for godot

Is the ceramic avant-garde a contradiction in terms?– Garth ClarkLusting after equality with fine arts has, in fact, been destructive to crafts… distinctly yourself, especially where it means being unlike mainstream fine arts.– Janet Koplos In the late 20th Century, when there was discussion on whether ceramic art (which is closely linked to the practical tradition of craftsmanship and history) could accommodate the spirit of avant-garde modernism. Garth Clark, an art critic from the United States, argues that the thesis that it is only through the destruction of the old that we can we find something new was a myth and suggests that the destruction of tradition is not something that is always necessary for the avant-garde to prevail.1 Clark states that “History can be a servant to the avant-garde spirit”2,…

12 min.
the evolution of moon jars  in korean ceramics

Since the emergence of contemporary Korean ceramics, the ‘inheritance of tradition’ has become an overarching subject constantly discussed by Korean ceramists. In particular, the adopted ‘moon jar’ in Korean art seeks to minimize insincere traces by reviving natural beauty, and has become a symbol of the rejection of artificiality. Many art historians, art critics and artists have no hesitation in describing the moon jar as the paragon of Korean ceramics. Many artists in the Korean ceramic scene have occupied themselves with working on moon jars, regarding them as a symbol of a tradition they must restore and recreate. To these ceramists, the moon jar is not only an aesthetic quest, but a mission they must complete or accomplish. The interpretations, applications, and experiments pertaining to moon jars that have been carried…

8 min.
ceramic art london 2019 a gathering of the faithful

The number of craft shows which promote the work of ceramic makers continue to grow in the UK, with 2019 being no exception. If the Crafts Council show COLLECT represents what the commercial galleries are selling, then Ceramic Art London (CAL) organised by the Craft Potters Association is the showcase for individual makers and members of the public looking to be inspired, and buy work at affordable prices. CAL is also blessed with a superb venue on the main concourse area at Central Saint Martins, University of the Arts in the centre of London. The enthusiasm of the public is still growing with some 5,500 attending in 2019 over three days. Compared to 2017 when some 2,500 people attended. This year makers from the Isle of Skye, Germany, Spain, Ireland, France, Austria, the…

5 min.
between zen and bizen: violette dionne’s exhibition fin d’inventaire at galerie d’art d’outremont, outremont, québec, oct 11 – nov 4, 2018

The ceramic sculptures of Canadian artist Violette Dionne can be described as strange, weird, disturbing and atypical. The three-dimensional objects from a group called Fin d’inventaire (End of Line) are pseudo-remains of industrial appurtenances; lawnmower, electronic devices and mechanical trash of all sorts now transformed into dire poetic images. The plastic precision of the artefacts makes one marvel at the maniacal purist craftsmanship of this contemporary appropriator. Not only is the Zen posture of these imitative artefacts effectively troubling, but so is the visual equivocalness of the surfaces and their political statements. Are they oxidized steel or some Bizen accretions? Not only is the Zen posture of these imitative artifacts effectively troubling, but so is the visual equivocalness of the surfaces and their political statements. At first glance, one wonders if the sculptures…

6 min.
a village industry mary watts and the compton pottery

With earth rich in clay, Surrey has been long associated with brickworks and the pottery industry. In the eighteenth century, diminished by the market dominance of the Staffordshire potteries, the county witnessed a decline in production. However in the nineteenth century the Arts & Crafts movement, reacting against mass production and monopolisation, encouraged the revival of locally produced artisanal handicrafts. Designer Mary Watts and her husband, the artist George Frederic Watts, were keen supporters of the movement, with G F Watts lamenting that in the face of the Industrial Revolution “the joy of beauty” was being “crushed by the wheels of machinery and forgotten in the competition for wealth.” In 1891 construction had finished on Limnerslease, the Watts’ Arts & Crafts home nestled in the Surrey countryside. Moved by the rural…

7 min.
things of beauty growing: british studio pottery at the yale center for british art, new haven, connecticut, usa

This large exhibition, which travels to the Fitzwilliam Museum in the U.K. (March 20-June 18, 2018) after its December 3 2017 closing in New Haven, is the kind of show you learn more from – and see more in – with every repeat viewing. It is a substantial show in the sense of comprising nearly 150 works, in the sense of including an impressive number of large-scale works, and in the sense of being very carefully thought-out in selections, installation and catalogue – and the catalogue is commensurately huge. The show is co-curated by Martina Droth, curator of sculpture at the Yale Center; Glenn Adamson, senior research scholar there and formerly at the Victoria & Albert Museum in London; and Simon Olding, director of the Crafts Study Center in the…