Artesanato
Ceramics: Art and Perception

Ceramics: Art and Perception No. 105

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:
Quarterly
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ASSINATURA
US$ 37,87
4 Edições

nesta edição

3 minutos
editorial

Strong Invincible Woman Woodfire mansfieldceramics.com NM Welcome to the first issue of the re-born Ceramics: Art and Perception. BM We hope it finds you and your practice well – and not too unnerved by the wait for our arrival. NM No matter what part of the globe you are in. BM No matter what type of practice you have – or your threshold for discombobulation. NM Whether you straddle the divide between art and academia. BM Or a solo studio potter furtively firing your kiln late into the suburban or urban night. NM We were lucky enough to meet many of you at our booth at NCECA in Portland where we announced our launch of CAP – and to ask you what preferences you had regarding articles. BM And its also where we had the great idea of putting…

5 minutos
the work of russell wrankle

Strong work is often described as ‘finished’, ‘cohesive’, ‘inspired’, and having ‘clear voice’. Two words you might not hear as often, but are equally as important, are ‘self-questioning’ and ‘unresolved’. A palpable level of interest from the maker, and not only the audience, is part of what defines good work. Commercial/critical success with certain forms or ideas can, if one is not vigilant, lead the artist to unknowingly make reproductions of their own work. The result is that over time the duende1 quietly slips out the back door of the studio. Recently I viewed new works by Russell Wrankle, studio artist and assistant professor at Southern Utah University. Ample duende is evident within each piece, but viewers are warned, this work is not for the light/feint of heart. Wrankle’s subject matter…

8 minutos
painter and sculptor: the ceramic art of ghada amer

In Feminism/Postmodernism (Thinking Gender), feminist scholars Nancy Fraser and Linda Nicholson acknowledge the myriad theoretical frameworks needed to accommodate the diverse experiences of women separated by race, class, ethnicity, age, sexual orientation, location, and religion. There is not one kind of feminism, they say, because there is not one kind of woman. Feminist theory, therefore, is more ‘like a tapestry of many threads and hues than one woven in a single colour’. This is also an apt metaphor for Ghada Amer and her artwork. Amer was born in Egypt, educated in France, and has made a globally recognized name for herself as an artist while living in New York City. Middle Eastern in Africa, a Muslim in America, and, perhaps, a bit too American in the Middle East, Amer’s composite identity…

5 minutos
homo ludens michael hallam

In 1938 in his book Homo Ludens, Dutch historian and cultural theorist Johann Huizinga investigates the human activity of play through a detailed analysis of core cultural elements in both Eastern and Western civilisations. As the title in Latin indicates, Huizinga viewed play as one of the defining elements of humanity, and as the main force in the creation of culture. About five decades later, in Free Play: Improvisation in Life and Art, a violinist Stephen Nachmanovitch observed that all forms of creative work are various expressions of play. He states that "without play, learning and evolution are impossible"; that to play is to “free ourselves from arbitrary restrictions and expand our field of action". Nachmanovitch further posits that play "enables us to rearrange our capacities and our very identity so…

4 minutos
isobel egan inside out

I’ve known of Egan’s work since 2005, and have watched her develop exponentially as an artist over the past decade. When Egan graduated with an MA in ceramics from the National College of Art & Design, Dublin, thirteen years ago she was producing a series of works focusing on fragility and memory. Using a combination of paper-thin porcelain structures and restrained copper shelving, Egan was heavily influenced by the writings of Phyllis Richardson on architecture, Peter Gray on psychology and Gaston Bachelard’s The Poetics of Space. Indeed Egan brought at that time and continues to incorporate a firm academic basis to her art . For example, in terms of the concept of personal space she has written: ‘The box structures are like micro works of architecture. They represent environments for…

4 minutos
the anonymous traditional african potters

“Not many people are working with African ceramics, so there’s a great sense of discovery and revelation,” claims Douglas Dawson, whose gallery has exhibited roughly fifty historical terracotta ceramics from Africa over the past two years. “Many African ceramics are made by anonymous craftsmen for use at the hearth and table, and for worship services”, he explains. The potters, who are almost entirely women, are apprenticed as girls to their mothers. Traditional African potters mine clay, bring it to the village, and prepare it by using their hands and feet to squeeze out impurities and air bubbles. To form a vessel, the potters begin with a large lump of clay, make a hole in the center, and press the walls apart. Some employ the coil building process. Form follows function. Jars with…