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Ceramics: Art and Perception

Ceramics: Art and Perception No. 107

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

B Here at last –# 107 completed, and packed with articles curated from around the world. Time to relax. N Hang on. How are we going with Clay Gulgong and curating 20 masters for hundreds of delegates – how can you possibly relax? B If I’m allowed to relax I can work on a few surprises. N That’s one of the contributing factors to my stress levels. B We can both relax. I’m checking on the ten rules for a successful event. N What could possibly go wrong? B Well apparently successful festivals need patrons. N But we’re the patrons. B Well, in a sense. N More lobster with your cavier? What else? B My vegetarianism declines. We also need a cool name that delivers what it suggests. Something short and snappy. N We’ve settled on using the generic Clay Gulgong,…

7 minutos
funk: american dada

America generated two great art movements—Jazz and Abstract Expressionism. Both movements altered their European precedents with American heroic individualism. This manifested itself in embracing improvisation and the myth of the transcendent genius. These similarities were reflected in noted art critic David Hickey’s Deconstruction of Jazz: “Jazz presumes that it would be nice if the four of us – simpatico dudes that we are – while playing this complicated song together, might somehow be free and autonomous as well.” It is evident in Thelonious Monk’s choppy percussive rifts, the bombastic slashes and drips comprising a Jackson Pollock painting, and the raw machismo of ceramic artist Peter Voulkos’s stacks of clay. All place an almost visceral engagement of personal genius above tradition. Every great orthodoxy generates a heterodoxy. In the early 1970s, a group…

12 minutos
mexico out of the labyrinth

Out of the Labyrinth is the title of an exhibition of contemporary Mexican studio ceramics I guest curated at the Northern Clay Center in Minneapolis, September 25 – November 9, 2015. The title comes from a statement made by Nobel Prize winning author Octavio Paz in his famous book of essays, published in 1950, where he described Mexico as ‘a labyrinth of solitude’. Whether or not this is still accurate, or ever was, the exhibition revealed that it was certainly not true of the nine featured artists: Gerardo Azcúnaga, Gloria Carrasco, IsadoraCuéllar, Javier del Cueto, Gustavo Pérez, Maribel Portela, Eduardo Sarabia, Paloma Torres, and XaweryWolski. Their work, for all its ties to Mexico, its history and its culture, is cosmopolitan rather than provincial in spirit, and is not at all…

6 minutos
koren christofides: a medieval modern bestiary

Turning to ceramics in 2007 at Atelier Buffile in Aix-en-Provence, France, where she was encouraged by proprietors Vincent and Monique Buffile, Koren Christofides’ approach to clay sculpture is bound to her background as an art historian, painter, curator and printmaker. Each experience has left its mark on her art, seen in depth in her second solo show at Gallery IMA in Seattle, Washington (USA). As an art historian married to another art historian, Constantine Christofides, the artist spent twelve years living in France, including a stint as artist-in-residence at the Institute for American Universities in Aix. Her current work combines exaggerated mask faces with spontaneous-looking hand-building that recalls Abstract Expressionist pioneer ceramist James Leedy more than his erstwhile colleague Peter Voulkos. Viola Frey (assemblage, bricolage) also comes to mind, but…

6 minutos
kuwatatakuro, i’m home, tea bowl   at kosaku kanechika gallery, tokyo

Kuwata Takuro’s whirlwind career seemed amply reflected in this exhibition, which occupied not just Kosaku Kanechika’s gallery but a supplementary space on the same floor of the Terrada Art Complex, a warehouse building in Tokyo’s Shinagawa ward. Kuwata (b. 1981) has had solo shows in Tokyo, New York, London and Brussels in the last three years, and his work is on the art fair circuit as well (Frieze Sculpture, 2017). Over that time he has been focusing on tea bowls, and this recent exhibition continued that. However it included a smattering of non-bowls. One, for example, was a blue and yellow obelisk nearly two meters tall. His approach to these closed forms, however, is much the same as his treatment of tea bowls. The key words are encrustation and polychrome. Essentially,…

11 minutos
svend bayer: the humble narcissist

Svend Bayer’s endurance and physicality are palpable and his evolution, Promethean. Oddly, over the last five decades his work, life, and philosophy have grown simpler, yet more complex. From idealist to pragmatist, Bayer’s accomplishments are almost mythical and have created a lasting impact on the field – even though he is too busy to notice. Unbeknownst to him, Bayer had an influence on my life that was the impetus for Svend Bayer at Greenwich House Pottery’s Jane Hartsook Gallery – his first comprehensive show in the United States, and his New York City debut. The exhibition turned into a ‘happening’ accompanied by a one-day demonstration and a roundtable discussion. As one of life’s anomalies, Bayer’s path is stained by humility and narcissism. His is a story where catharsis has had a…