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Ceramics: Art and Perception

Ceramics: Art and Perception No. 106

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

4 minutos
editorial

BM You know I said I’d been thinking about our readers, and the concept of community and communication? NM I do – and its links to companionship. BM But only because the first two Cs would hopefully lead to the third. Well, I've been wondering if it's possible to create a community through a magazine? NM I would say not. Subscribers and readers are too disparate. BM But they do have a shared commonality of interest. NM Sure, but inhabiting different worlds of thought. BM Isn't that why the communication is so important? NM Depends how it's communicated. BM Hmm, okay. Do you think the writing is all too 'nice'? NM By that, do you mean we're promoting too much vanity stuff? To save the 'community' you envisage? BM Maybe. Possibly. Perhaps more truth darts are required? NM That of course…

10 minutos
laurent craste: disjunctions

Decapitated, flayed, pierced, crushed, hung, disemboweled, trampled, and collapsed—such are the torments Laurent Craste visits upon his works. The vases sometimes incorporate the instrument of their torture: crowbar, screwdriver, knife, bat, axe, wrench, brick. Here I examine the various operative aspects of Craste’s Sévices series. Produced between 2008 and 2016, it is his most important work to date. A ceramicist and video-maker, Craste stretches the limits of his discipline while deconstructing the decorative codes that informed eighteenth-and nineteenth-century objects. Trained in traditional ceramic technique, he makes a stealth run against his acquired virtuosity to create new artifacts, objects that retain decorative value even as they interrogate its meaning. Innovation cannot be solely predicated on varying the decorative motifs on the vase: its form must also be fashioned. Many contemporary ceramicists still draw…

3 minutos
the work of martin smith

In his latest exhibition Martin Smith further investigates the formal language of the vessel and the way that it can both contain a space and define a place. He analyses the poetic qualities of mathematics and geometry and develops new approaches to surface illusion. Using his previous show with Marsden Woo Gallery (Red and Black with Blue and Yellow, 2015) and its exploration of the archetype of the vase as a jumping-off point, Smith drops the scale of this new body of work to that of the cup, mug or beaker for an exploration of the geometric intersection of cylinders and cubes. Picking up on concerns that go back to the mid- '80s in which he explored different planes within the cylinder, and making direct reference to his 1990 series of…

4 minutos
content and form: alison britton

To reach the exhibition Content and Form on the 6th floor at the Victoria and Albert museum one passes through the most eclectic collection of ceramics in the world. It is a tough act to follow that Alison Britton’s retrospective achieves with considerable artistic authority. The exhibition stands out as different from the permanent collection in a number of significant ways. It functions well in the bizarre context of the museum that robs so many other pots of their content. Unlike the permanent collection, there is a sense that each individual piece is valued whether attractive or not and, in the case of more recent work, given equal status by the way it has been displayed. In as far as it is possible to see the historic collection, crammed into…

3 minutos
unpleasant conversations: the no series exhibition

My solo installation was on view into November, 2017, in the John Dominis and Patches Damon Holt Gallery at the Honolulu Museum of Art in Honolulu, Hawai’i. I’ve been making art for many, many years, along with teaching art for 42 years at Hartwick College, located in the foothills of the Catskills in upstate New York. There could not be a more beautiful place in the fall of the year when the trees are turning breathtaking colors of reds and yellows before the onset of winter. After retiring from teaching, I moved to Kaua’I Hawai’i in 2006, which is also an inspiring place in which I now am able to create art full-time. Hawai’i has embraced me as an artist. I have found acceptance for my ceramic installations and other…

6 minutos
tristate of mind

Tristate of Mind was the inaugural exhibition for In Our Backyard, a year of themed and integrated programming at the Clay Art Center (CAC) in Port Chester, New York. Up between January 30 and March 19, 2016, Tristate showcased seventeen emerging artists working within seventy-five miles of the steadily growing art center, located thirty miles north of downtown Manhattan. Muted in color, modest in size, the show was remarkable for its spectacular successes, failures, and promise. Fulfilling its central mission, one of Tristate’s great accomplishments was its culling together of fresh, budding, and, at the time, local talent. Exemplarily, Adam Knoche, Max Seinfeld, and Lauren Skelly-Bailey impressed and were among the youngest in the gallery. Knoche, who with layer upon layer of powdered clay builds powerfully evocative, extrusive objects rooted in…