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Ceramics: Art and Perception

Ceramics: Art and Perception

No. 116
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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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Country:
Australia
Language:
English
Publisher:
Mansfield Ceramics Pty Ltd
Frequency:
Biannually
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2 Issues

in this issue

1 min.
a note from the editor

Times have rarely been as fractious and precarious as now. If you’re not currently in lockdown (for the first or second time), then you might easily be by the time this issue reaches its way to your studio, library or home. When will we return to normal? Perhaps never. Perhaps we are yet to discover the new normal. We certainly aim to keep our normality afloat, aligned with T.S Eliot’s belief that “the very existence of libraries affords the best evidence that we may yet have hope for the future of man.” Making work in this fractured time, along with the meaning you make and the gestures you throw off, has never been more important. Our stress driven world has been turned upside down, not so much by a virus, but also…

5 min.
the storyteller: the woven narratives of natalia dias

A story is one of the most powerful shaping forces in human life. We create stories to forge connections between how we live, think, feel and in turn these stories shape us, becoming woven into our memories. We have an inherent need to create stories to make sense of the world, moving through them by day as we do by night. It usually just happens, without us willing them into being, and they are hard to suppress, in fact, ‘we’ do not always have control. It is an extraordinary ability once you stop to consider it, that we can with so much ease, thread fragments of fact and fiction together. We are so articulate in this weaving that, when relaying a story to a friend we are not so much imparting…

6 min.
ryoji koie

It was with great sadness that I learnt of the recent death of Ryoji Koie, one of Japan’s most innovative and internationally famous post-war artists. I feel deeply privileged to have known him and am a better person and potter as a result. I met Koie in 1991 when he worked in my studio to make his first London exhibition. I was not sure what to expect but was astounded by his energy and playful, prolific, approach, which tore up much that I thought I knew about the craft and aesthetics of Japanese ceramics. He told me, for example, that he thought the concepts of Wabi and Sabi, so close to the hearts of Leach and Hamada, were like black holes. In a fortnight he not only produced enough work…

10 min.
owen rye: a daedal gallimaufry

Owen Rye’s autumn exhibition, A Daedal Gallimaufry, curated by Skepsi’s Anna Maas, was a tour de force in many ways, not least in its fortuitous timing. The bushfires were doused, finally, and the virus a low whisper (in Australia) at the time of the show’s opening. By its close, there was leisure and calm enough – just – for keen buyers to venture out to Eltham’s Montsalvat to collect their treasures. The show’s final day marked almost the last of what we once called ‘normal life’. But it was not just a quirk of fate that made this exhibition memorable. Owen Rye’s pots have an elemental quality, a dynamic stillness that seems to exist outside of time, or at least outside time as we obsessively measure and spend it. His pots…

17 min.
clay today: a group with a vision

The ‘Clay Today’ group was a dynamo and catalyst for a number of central events and activities that pushed and changed the Danish ceramic world during the early 1990s. ‘Clay Today’ came into existence out of a need for a platform to exchange of knowledge and experience among ceramicists, a platform which might also promote Danish studio ceramics to the public. Throughout the 1980s things began to happen in the milieu for ceramics in Denmark. ‘Multi Mud’ was set up as an exhibition collaborative in the early 1980s by: Karen Bennicke, Peder Rasmussen, Lene Regius, Heidi Guthmann Birck, Aage Birck and Gunnar Palander. The artists Bodil Manz, Malene Mullertz, Gunhild Aaberg, Beate Andersen and Sten Lykke Madsen have also exhibited together as a group, called Keramiske Veje since 1985. For…

7 min.
clay talk 16 nov, 2019

It is wonderful as always to return to Denmark and I am greatly honored to be asked to address you on the occasion of the 25th anniversary of this museum. I have to tell you that I cried a little when I received this invitation. Thank you. I would like to thank Pia Wirnfeldt, Christina Rauh Oxbøll, the many volunteers that make the museum vibrant, the people and the foundations whose efforts and money support it and the City of Middlefart. I also feel so happy to be with and feel the great energies of my colleagues and friends, Betty, Birgit, Niels, Peter, Larry and Nina. Nina, if you are up there listening and watching, I greet you with love. We all do. Thank you for your life’s work. I believe that…