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Ceramics: Art and Perception

Ceramics: Art and Perception No. 113

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.

País:
Australia
Língua:
English
Editora:
Mansfield Ceramics Pty Ltd
Periodicidade:
Biannually
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ASSINATURA
US$ 47,31
2 Edições

nesta edição

4 minutos
sam chung's clouds of heritage

The work of Sam Chung, Professor of Art at Arizona State University, has been seen in a variety of group and solo exhibitions in Colorado, Iowa, Kansas and New York City over the past few years − as well as at the Eighth Gyeonggi International Ceramics Biennale in 2015. The second Biennale in 2003 was his Korean debut (he had visited Korea many times in prior years) where he won an Honorable Mention. The award was significant because all of Chung’s art alludes to Korean ceramic history, especially celadon. What he brings to such an ancient tradition (dating in Korea from the 10th century AD) is an eccentric pot profile, extraordinary technical control over various shades of celadon (a grey-green to pale white glaze which arrived from China during the Koryô…

6 minutos
carolyn genders: ‘do i know before i start?’

This article would have been impossible to write if I had not had the privilege of spending time with Carolyn Genders, visiting her studio and witnessing the act of her making. Making with Carolyn illustrates the idea of a master of their craft – the sheer amount of knowledge that is both consciously technical and intuitively executed. Seeing the ability of a committed practitioner to draw upon many years of doing, thinking, making, as well as equal amounts of undoing, remaking and rethinking. “The world is full of intellectual makers – without the knowledge of materiality.” This phrase, one of the first we exchanged, encapsulates the rigour which Carolyn brings to her work. Carolyn embodies haptic knowledge. The pieces she makes emerge from the clay in an act of unthinking feeling and…

6 minutos
beau-laid

Meanwhile for Charles Baudelaire ugliness is opposed to harmony – “it is the unresolved tension, the conflict of contradictory forces that has been left standing as it is”. Beau-laid is a wonderful French word that introduces us to the notion of beauty within a piece that might, on the surface, be perceived as ugly; it is the idea that these seemingly contradictory values can co-exist in the same work. Emerging in philosophy, it also appears regularly in art theory from classical tradition which presupposed that the aim of art was to manifest beauty. Conversely, it was said that it was the absence of beauty that makes something ugly to thr German philosopher Alexander Baumgarten, who introduced aesthetics into modern philosophy, defining it as a science of knowing. There followed Karl Rosenkranz’s…

6 minutos
royal college of art show 2019

The future of modern contemporary ceramics today is in the hands of by those who have forged a career internationally. While ceramics has been under pressure in the educational system (especially in the UK) and has played a secondary role to that of painting and other fine art disciplines. It begs the question, where are the international makers of the future to come from? A beacon of excellence in the UK, and one which is recognised internationally as the best post-graduate establishment, is the Royal College of Art (RCA). RCA’s graduate show suggests that the makers to answer that question may be found here, in this London seat of learning and experimentation. When entering this year’s final degree show you are hit by collection of very diverse work which explores the very…

24 minutos
frank james fisher: pop artifacts and beyond

When encountering the ceramic sculptures of Frank James Fisher, the viewer is likely to find their mixture of forms and graphics surprising. Gas cans, flasks and coffins are among the objects he makes which include both vessels within the domain of ceramic art as well as objects that do not. Surfaces of works, layered with visual elements inspired by American popular culture and advertising, yield unexpected personal and symbolic meanings beyond their effectiveness as decoration. Brand Remover teases the eye with its blend of the familiar and unfamiliar. The bottle’s form, graphics, and interplay of red, white, and black are dynamic and evocative, making it appear like a half-forgotten item on a shelf somewhere. Contrasting with its striking red color, the bottle’s surface is chalky in texture, evoking a sense of…

6 minutos
five cubed

In 1939, Fortune Magazine ran an article on ceramics titled The art with an inferiority complex. Fast forward to 1961 and Rose Slivka proclaimed that ceramics had “broken new ground and challenged past traditions, suggested new meanings and possibilities to old functions and habits of seeing, and has won the startled attention of a world unprepared for the expected.”1 Indeed a great deal had changed in the intervening years; in late 1940s Japan the revolutionary artists of the Sodeisha Group radically challenged the conventional thinking, embedded in tradition, that had existed in ceramic art, while in the US groundbreaking artists such as Peter Voulkos and Jim Leedy emerged in the 1950s opening the door for future generations. This led to a view that, as Maria Elena Buszek has noted, “craft media…