For nearly a century British potters have invigorated traditional ceramic forms by developing or reinventing techniques, materials, and means of display. Things of Beauty Growing explores major typologies of the vessel--such as bowl, vase, and charger--that have defined studio ceramics since the early 20th century. It places British studio pottery within the context of objects from Europe, Japan, and Korea and presents essays by an international team of scholars and experts. The book highlights the objects themselves, including new works by Adam Buick, Halima Cassell, and Nao Matsunago, featured alongside works by William Staite Murray, Lucie Rie, Edmund de Waal, and others, many published here for the first time. Rounding out the beautifully illustrated volume is an interview with renowned collector John Driscoll and approximately fifty illustrated short biographies of significant makers.
This detailed and comprehensive survey charts the entire history of British studio ceramics from the emergence of modern ceramics from the Victorian factories around 1900 to the wide variety of extraordinary work being produced today. All the best-known potters such as Leach, Hamada, Cardew, Rie, and Coper are examined in depth in terms of their different areas of interest and influence. An extensive appendix gives information on 200 leading makers with their identifying marks and cross-references with a list of museums where their work can be seen. Lavishly illustrated throughout with some 250 color photographs, this is a book for the collector needing in-depth information or for those who just want an introduction to this important and beautiful work.
This new edition of Eric Yates-Owen and Robert Fournier's classic book on British studio potters' marks contains new and revised entries for many potters, with up-to-date information about the artists' styles, marks and addresses. Entries are arranged alphabetically, with each entry giving biographical data, information on the type of ceramics produced, the location of the pottery and dates indicating when marks have changed, as well as images of the different marks used. Three useful indexes enable the reader to search by mark rather than maker, in various categories such as creatures, monograms and signs. Revised by expert collector James Hazlewood, British Studio Potters' Marks, third edition, is the essential reference guide for collectors of British studio pottery.
This groundbreaking book is the first to provide a critical overview of the relationship between contemporary ceramics and curatorial practice in museum culture. Ceramic objects form a major part of museum collections, with connections to anthropology, archaeology and other disciplines that engage with the cultural and social history of humankind. In recent years museums have provided the impetus for cutting-edge artistic practice, either as a response to particular collections, or as part of exhibitions. But the question of how museums have staged contemporary ceramics and how ceramic artists respond to museum collections has not been the subject of published research to date. This book examines how ceramic artists have, over the last decade, begun to animate museum collections in new ways, and reflects on the impact that these new initiatives have had in the broad context of visual culture. Ceramics in the Expanded Field is the culmination of a three-year AHRC funded project, and reflects its major findings. It brings together leading international voices in the field of ceramics, research undertaken throughout the project and papers delivered at the concluding conference. By examining the benefits and constraints of interventions and the dialogue between ceramics and museological practice, this book will bring focus to an area of museology that has not yet been theorized, and will contribute to policy debates and art practice.
This is a guide for both beginner collectors and those who have already started on how, where and what to buy in contemporary studio ceramics as a collector. It looks at the best venues, from galleries and auctions to craft fairs and even car boot sales, and explains what to look for, or alternatively, to avoid. It discusses the various types of studio pottery for the uninitiated, as well as looking at the way people can collect items - only buying pieces from a few specific potters, or collecting just teapots from hundreds of places. Collecting Contemporary Ceramics examines the pros and cons of collecting for investment or for pleasure, and how to go about doing both. It also discusses more abstract angles such as: Why do people collect? With interviews from a few noted collectors and makers, this will open up a whole new world to those interested in collecting ceramics but without the knowledge of where to go and what to look for.
Renowned ceramic artist Karen Karnes has created some of the most iconic pottery of the late twentieth and early twenty-first centuries. The body of work she has produced in her more than sixty years in the studio is remarkable for its depth, personal voice, and consistent innovation. Many of her pieces defy category, invoking body and landscape, pottery and sculpture, male and female, hand and eye. Equally compelling are Karnes's experiences in some of the most significant cultural settings of her generation: from the worker-owned cooperative housing of her childhood, to Brooklyn College under modernist Serge Chermayeff, to North Carolina's avant-garde Black Mountain College, to the Gate Hill Cooperative in Stony Point, New York, which Karnes helped establish as an experiment in integrating art, life, family, and community. This book, designed to accompany an exhibit of Karnes's works organized by Peter Held, curator of ceramics for the Arizona State University Art Museum's Ceramic Research Center, offers a comprehensive look at the life and work of Karnes. Edited by highly regarded studio potter Mark Shapiro, it combines essays by leading critics and scholars with color reproductions of more than sixty of her works, providing new perspectives for understanding the achievements of this extraordinary artist.
In Britain today the output of excellent ceramics seems more eclectic than elsewhere. This stylish and wide-ranging survey comprises examples of clay art by one hundred major artists, covering the period from the late 1980s through 2009. Drawn from the Diane and Marc Grainer Collection, it includes works by Allison Britton, Edmund de Waal, Kate Malone, Grayson Perry, Julian Stair, Steve Dixon, and Nick Arroyave-Portela, among others. The selection balances functional objects and sculpture; hand-built, thrown, and molded techniques; varieties of scale and color; and cerebral and emotional content. All the ceramics here are rooted in the materiality of clay. The properties of the raw material, from its soft, malleable texture to the alchemy of slips and glazes, are at the core of the artists’ passion. And, as the text reveals, the younger generation is moving into new directions of art practice.
Frederick Baekeland,Robert Moes,Japan Society (New York, N.Y.). Gallery,New Orleans Museum of Art,Honolulu Academy of Arts
400 Years of British Collecting in 100 Masterpieces
Author: Patricia Ferguson
Publisher: Philip Wilson Publishing
The National Trust's ceramic collection is vast and encyclopaedic, numbering approximately 75,000 artefacts, housed in 250 historic properties in England, Wales and Northern Ireland. What is distinct about the collection are the individual stories behind these objects that go beyond mere place and date of production, revealing the very personal histories of ownership, display, taste and consumption. Collectively, patterns emerge from these narratives documenting the acquisition, patronage and collecting of ceramics among the British aristocracy and gentry over four centuries. Some of these revelations are obvious, others are surprising and will stimulate new ways of understanding the material. One hundred stories have been selected from this rich treasure trove of ceramics from Asia, Europe, Britain and the Americas. Rather than being presented in the usual chronological order by production date or divided by material, geography or use, this ground-breaking publication presents the material in the order these objects begin to appear in elite British households, based on documentary evidence in the form of original invoices, inventories, auction catalogues, dealer archives, paintings, and photographs. No other collection in the world has such a breadth and depth of provenance to present this critical timeline. Historic country house collections are assembled over centuries, with multiple layers of acquisition history. Rather than presenting the objects in isolation, where possible and appropriate the ceramics are illustrated in their original interiors. Following an introduction, the individual entries focus on production, exchange and appreciation, placing the objects in the socio-economic environment in which they were created for a broader understanding of their relevance today.
Patricia E. Kane,Dennis A. Carr,Nancy Goyne Evans,Gary R. Sullivan,Jennifer N. Johnson
Author: Patricia E. Kane,Dennis A. Carr,Nancy Goyne Evans,Gary R. Sullivan,Jennifer N. Johnson
Publisher: Yale University Press
The most comprehensive publication available to date on the topic, Art and Industry in Early America examines furniture made throughout Rhode Island from the earliest days of the settlement to the late Federal period. This stunning volume features more than 200 illustrations of beautifully constructed and carved objects--including chairs, high chests, bureau tables, and clocks--that demonstrate the superb workmanship and artistic skill of the state's furniture makers. Written by distinguished scholars, the book presents new information on the export trade, patronage, artistic collaboration, and the small-scale shop traditions that defined early Rhode Island craftsmanship. In addition to iconic, stylish pieces from important centers of production like Newport and Providence and by well-known makers such as John Goddard and Samuel and Joseph Rawson, Jr., the catalogue showcases simpler examples made in smaller towns. More than 100 catalogue entries detail marks and inscriptions, bibliography, and provenance and feature many new photographs, encouraging a deeper understanding of this dynamic school of American furniture making.
twentieth century British ceramics in the Victoria and Albert Museum collection
Author: Oliver Watson
Publisher: Phaidon Press
The British Studio Pottery movement of the twentieth century has beennfluential throughout the world and the Victoria and Albert Museum has theorld's largest and finest collection with over 700 pieces dating from theeginnings of the movement to the 1980s.;As well as being rich inasterpieces by such famous names as Bernard Leach, Hans Coper and Lucie Rie,he book contains significant and representative works by nearly 200 pottersf note. This work is organized in the form of a biographical dictionary with substantial introduction.
When potters throw clay onto a stone, they make a connection across centuries to ancient workshops. The techniques and traditions of these early craftsmen, especially those of China’s Sung dynasty, still inform many of the pottery practices in use today, thanks to the seminal work of Bernard Leach. Leach’s A Potter’s Book was among the first to collect ancient workshop traditions for modern use in studios, emphasizing functional work. It became an immediate hit among potters who embraced its ideal of unity, spontaneity, and simplicity of form. Leach, considered the father of British studio pottery, went on to establish of one of the most respected studios in the world with the ideas of A Potter’s Book at its foundation. With this classic book, potters can learn everything, from how to set up their workshop to how to adapt pigment and glaze recipes to how to design custom kilns. It spotlights four types of pottery: Japanese raku, English slipware, stoneware, and oriental porcelain. Thanks to Leach’s time in Japan and collaborations with master potter Shoji Hamada, it also serves as a fascinating look at the interplay between Eastern and Western art.
New Wave Clay unpicks the zeitgeist and aesthetic of an exciting discipline with intelligence, insight and indulgence. Against the backdrop of the digital age and shiny screens, a whole new generation of craftspeople, designers and artists are realizing the pleasure of working with clay and bringing a fresh perspective to the material. Today, there is a lively crossover between craft, design, sculpture and technology that is rethinking ceramics: what you can make with it, what it looks like and who makes it. New Wave Clay is a global survey of 55 imaginative ceramicists that are leading this craft revival. They include classically trained potters who create design-led pieces, product designers who use clay as a means of creative expression, as well as fine artists, architects, decorators, illustrators, sculptors and graphic designers. Their collective output goes far beyond pots into ceramic furniture, sculpture, murals, wall reliefs, small-scale architecture and 3D printing. The book is divided into four thematic sections and features special contributions from Edmund de Waal, Hella Jongerius, Grayson Perry, Martin Brudnizki and Sarah Griffin discussing craft, industry, ornament, decorating and collecting. New Wave Clay is an image-led, dynamic study of the exciting new generation jumpstarting this age-old art. Features - A 296-page survey of 55 international ceramicists who bridge the worlds of product design, interiors, fine art and luxury craftsmanship. - Four thematic chapters are accompanied by interviews and written contributions on the subject from designers, decorators and collectors. - Richly illustrated, New Wave Clay is an image-led, dynamic book that aims to demonstrate the contemporary condition of this age-old art. - Instead of focusing on traditional craft ware and functional pieces, this title focuses on the community of ceramicists who create design-led works.
It’s a wonder to behold what happens when love moves in . . . Former child star Fiona Hume deserted the movie biz a decade ago—right after she left rehab. She landed in Baltimore, bought a dilapidated old mansion downtown, and hatched dreams of restoring it into a masterpiece, complete with a studio for herself. She would disappear from public view and live an artist’s life. That was the plan. Ten years later, Fiona’s huge house is filled with junk purchased at thrift stores, haggled over at yard sales, or picked up from the side of the road. Each piece was destined for an art project . . . but all she’s got so far is a piece of twine with some antique buttons threaded down its length. She’s thirty-two years old and still recognizable, but Fiona’s money has finally run out. She’s gotten pretty desperate, too, and in her desperation she’s willing to do almost anything for money. Almost. So it is that she comes to rent out the maid’s quarters to a local blacksmith named Josia Yeu. Josia is everything Fiona isn’t: gregarious, peaceful, in control without controlling . . . in short, happy. As the light from the maid’s quarters begins to permeate the dank rooms of Fiona’s world, something else begins to transform as well—something inside Fiona. Something even she can see is beautiful.
The Ceramics Reader is an impressive editorial collection of essays and text extracts, covering every discipline within ceramics, past and present. Tackling such fundamental questions as "why are ceramics important?", the book also considers the field from a range of perspectives - as a cultural activity or metaphor, as a vehicle for propaganda, within industry and museums, and most recently as part of the 'expanded field' as a fine art medium and hub for ideas. Newly commissioned material features prominently alongside existing scholarship, to ensure an international and truly comprehensive look at ceramics.
From the rise of studio pottery in the 1910s, to a number of new commissions by a young generation of UK-based artists, That continuous thing traces the changing shape of the ceramics studio over the last century, from the radical to the apparently traditional. Published on the occasion of an exhibition at Tate St. Ives, March 31-September 3, 2017.