Application of Ceramic Materials in Modern Urban Sculpture
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Multiplicity: Contemporary Ceramic Sculpture' Exhibition Catalog Anne M Giangiulio, University of Texas at El Paso
University of Texas at El Paso From the SelectedWorks of Anne M. Giangiulio 2006 'Multiplicity: Contemporary Ceramic Sculpture' Exhibition Catalog Anne M Giangiulio, University of Texas at El Paso Available at: https://works.bepress.com/anne_giangiulio/32/ Contemporary Ceramic Sculpture Organized by the Stanlee and Gerald Rubin Center for the Visual Arts at the University of Texas at El Paso This publication accompanies the exhibition Multiplicity: Contemporary Ceramic Sculpture which was organized by the Stanlee and Gerald Rubin Center for the Visual Arts at the University of Texas at El Paso and co-curated by Kate Bonansinga and Vincent Burke. Published by The University of Texas at El Paso El Paso, TX 79968 www.utep.edu/arts Copyright 2006 by the authors, the artists and the University of Texas at El Paso. All rights reserved. No part of this publication may be reproduced in any manner without permission from the University of Texas at El Paso. Exhibition Itinerary Portland Art Center Portland, OR March 2-April 22, 2006 Stanlee and Gerald Rubin Center for the Visual Arts Contemporary Ceramic Sculpture The University of Texas at El Paso El Paso, TX June 29-September 23, 2006 San Angelo Museum of Fine Arts San Angelo, TX April 20-June 24, 2007 Landmark Arts Texas Tech University Lubbock, TX July 6-August 17, 2007 Southwest School of Art and Craft San Antonio, TX September 6-November 7, 2007 The exhibition and its associated programming in El Paso have been generously supported in part by the Andy Warhol Foundation for the Visual Arts and the Texas Commission on the Arts. -
Porcelain Cíqì 瓷 器
◀ POLO, Marco Comprehensive index starts in volume 5, page 2667. Porcelain Cíqì 瓷器 Porcelain was first made in China about 850ce . The essential ingredient is kaolin, a white clay that when fired at an extremely high temper- ature acquires a glassy surface. Porcelain wares were first exported to Europe during the twelfth century. By 1700 trade in Chinese porcelain was immense, with Ming dynasty wares, characterized by cobalt-blue-painted motifs, highly prized. orcelain is ceramic material made with kaolin, which is a fine, white clay. Porcelain wares were first made in China about 850ce during the Tang Ornately painted porcelain bowl. Potters of the dynasty (618– 907 ce). An Islamic traveler who had vis- Ming dynasty concentrated more on painted ited China in 851 saw clay vessels that resembled glass. design and less on form. Photo by Berkshire Evidence indicates that fine, white stoneware (pottery Publishing. made from high-firing clay other than kaolin) was made in China as early as 1400 bce, and potters appear to have been familiar with kaolin during the Han dynasty rather than gray or brown or rust colored) and high fusion (206 bce – 2 2 0 ce). But the forerunner of modern-day por- temperature (the high heat required to turn the ingredi- celain was not made until the Tang dynasty. Tang dynasty ents into porcelain). Chemically kaolin is made up of kao- porcelain is known as “hard-paste” or “true porcelain” and linite, quartz, feldspar, muscovite, and anastase. Kaolin was made by mixing kaolin, which is formed by the decay and petuntse are fused by firing in a kiln at 980º C, then of feldspar, a chief constituent of granite, with petuntse, dipped in glaze and refired at about 1,300º C. -
Phase Evolution of Ancient and Historical Ceramics
EMU Notes in Mineralogy, Vol. 20 (2019), Chapter 6, 233–281 The struggle between thermodynamics and kinetics: Phase evolution of ancient and historical ceramics 1 2 ROBERT B. HEIMANN and MARINO MAGGETTI 1Am Stadtpark 2A, D-02826 Go¨rlitz, Germany [email protected] 2University of Fribourg, Department of Geosciences, Earth Sciences, Chemin du Muse´e 6, CH-1700 Fribourg, Switzerland [email protected] This contribution is dedicated to the memory of Professor Ursula Martius Franklin, a true pioneer of archaeometric research, who passed away at her home in Toronto on July 22, 2016, at the age of 94. Making ceramics by firing of clay is essentially a reversal of the natural weathering process of rocks. Millennia ago, potters invented simple pyrotechnologies to recombine the chemical compounds once separated by weathering in order to obtain what is more or less a rock-like product shaped and decorated according to need and preference. Whereas Nature reconsolidates clays by long-term diagenetic or metamorphic transformation processes, potters exploit a ‘short-cut’ of these processes that affects the state of equilibrium of the system being transformed thermally. This ‘short-cut’ is thought to be akin to the development of mineral-reaction textures resulting from disequilibria established during rapidly heated pyrometamorphic events (Grapes, 2006) involving contact aureoles or reactions with xenoliths. In contrast to most naturally consolidated clays, the solidified rock-like ceramic material inherits non-equilibrium and statistical states best described as ‘frozen-in’. The more or less high temperatures applied to clays during ceramic firing result in a distinct state of sintering that is dependent on the firing temperature, the duration of firing, the firing atmosphere, and the composition and grain-size distribution of the clay. -
Tactile Digital: an Exploration of Merging Ceramic Art and Industrial Design
INTERNATIONAL CONFERENCE ON ENGINEERING AND PRODUCT DESIGN EDUCATION 8 & 9 SEPTEMBER 2016, AALBORG UNIVERSITY, DENMARK TACTILE DIGITAL: AN EXPLORATION OF MERGING CERAMIC ART AND INDUSTRIAL DESIGN Dosun SHIN1 and Samuel CHUNG2 1Industrial Design, Arizona State University 2Ceramic Art, Arizona State University ABSTRACT This paper presents a pilot study that highlights collaboration between ceramic art and industrial design. The study is focused on developing a ceramic lamp that can be mass-produced and marketed as a design artefact. There are two ultimate goals of the study: first, to establish an iterative process of collaboration between ceramic art and industrial design through an example of manufactured design artefact and second to expand transdisciplinary and collaborative knowledge. Keywords: Trans-disciplinary collaboration, emerging design technology, ceramic art, industrial design. 1 INTRODUCTION The proposed project emphasizes collaboration between disciplines of ceramic art and industrial design to create a ceramic lamp that can be mass-produced and marketed as a design artefact. It addresses issues related to disciplinary challenges involved in the process and use of prototyping techniques that make this project unique. There are two ultimate goals of the project. First is to establish an iterative process of collaboration between ceramic art and industrial design through an example of manufactured 3D ceramic lamp. The second goal is to develop a transdisciplinary ceramic design course for Arizona State University students. The eventual intent is also to share generated knowledge with scholars from academia and industry through various conferences, academic, and technical platforms. In the following, we will first discuss theoretical perspectives about collaboration between ceramic art and industrial design to highlight positives and negatives of disciplinary associations. -
The Exploration of Sr Isotopic Analysis Applied to Chinese Glazes: Part Oneq
Journal of Archaeological Science xxx (2013) 1e8 Contents lists available at ScienceDirect Journal of Archaeological Science journal homepage: http://www.elsevier.com/locate/jas The exploration of Sr isotopic analysis applied to Chinese glazes: part oneq Hongjiao Ma a, Julian Henderson a, *, Jane Evans b a Department of Archaeology, University of Nottingham, University Park, Nottingham NG7 2RD, UK b NERC Isotope Geosciences Laboratory, British Geological Survey, Keyworth, Nottingham NG12 5GG, UK article info abstract Article history: Ash glaze and limestone glaze are two major glaze types in southern Chinese ceramic technology. In this Received 4 March 2013 study strontium isotope compositions were determined in ash glaze samples from the Yue kiln dated to Received in revised form between the 10th and 12th centuries AD, limestone glaze samples from Jingdezhen dated to between the 26 July 2013 15th and 18th centuries AD and ceramic raw materials from Jingdezhen. The Sr isotopic characteristics of Accepted 12 August 2013 limestone glaze and ash glaze are completely different. The Sr isotope characteristics of limestone glaze is characterised by low Sr concentrations, large 87Sr/86Sr variation, and a two component mixing line. On Keywords: the other hand the strontium isotope characteristic of ash glaze samples is characterised by a consistent Chinese glaze 87 86 Raw materials Sr/ Sr signature and high Sr concentrations with a large variation. The different Sr isotope composi- fl Strontium isotopes tions for the two types of glazes are a re ection of the various raw materials involved in making them. TIMS The Sr isotopic composition has been altered by the refinement process that the raw material was subjected to. -
9. Ceramic Arts
Profile No.: 38 NIC Code: 23933 CEREMIC ARTS 1. INTRODUCTION: Ceramic art is art made from ceramic materials, including clay. It may take forms including art ware, tile, figurines, sculpture, and tableware. Ceramic art is one of the arts, particularly the visual arts. Of these, it is one of the plastic arts. While some ceramics are considered fine art, some are considered to be decorative, industrial or applied art objects. Ceramics may also be considered artifacts in archaeology. Ceramic art can be made by one person or by a group of people. In a pottery or ceramic factory, a group of people design, manufacture and decorate the art ware. Products from a pottery are sometimes referred to as "art pottery".[1] In a one-person pottery studio, ceramists or potters produce studio pottery. Most traditional ceramic products were made from clay (or clay mixed with other materials), shaped and subjected to heat, and tableware and decorative ceramics are generally still made this way. In modern ceramic engineering usage, ceramics is the art and science of making objects from inorganic, non-metallic materials by the action of heat. It excludes glass and mosaic made from glass tesserae. There is a long history of ceramic art in almost all developed cultures, and often ceramic objects are all the artistic evidence left from vanished cultures. Elements of ceramic art, upon which different degrees of emphasis have been placed at different times, are the shape of the object, its decoration by painting, carving and other methods, and the glazing found on most ceramics. 2. -
Ford Ceramic Arts Columbus, Ohio
The Journal of the American Art Pottery Association, v.14, n. 2, p. 12-14, 1998. © American Art Pottery Association. http://www.aapa.info/Home/tabid/120/Default.aspx http://www.aapa.info/Journal/tabid/56/Default.aspx ISSN: 1098-8920 Ford Ceramic Arts Columbus, Ohio By James L. Murphy For about five years during the late 1930s, the combination of inventive and artistic talent pro- vided by Walter D. Ford (1906-1988) and Paul V. Bogatay (1905-1972), gave life to Ford Ceramic Arts, Inc., a small and little-known Columbus, Ohio, firm specializing in ceramic art and design. The venture, at least in the beginning, was intimately associated with Ohio State University (OSU), from which Ford graduated in 1930 with a degree in Ceramic Engineering, and where Bogatay began his tenure as an instructor of design in 1934. In fact, the first plant, begun in 1936, was actually located on the OSU campus, at 319 West Tenth Avenue, now the site of Ohio State University’s School of Nursing. There two periodic kilns produced “decorated pottery and dinnerware, molded porcelain cameos, and advertising specialties.” Ford was president and ceramic engineer; Norman M. Sullivan, secretary, treasurer, and purchasing agent; Bogatay, art director. Subsequently, the company moved to 4591 North High Street, and Ford's brother, Byron E., became vice-president. Walter, or “Flivver” Ford, as he had been known since high school, was interested primarily in the engineering aspects of the venture, and it was several of his processes for producing photographic images in relief or intaglio on ceramics that distinguished the products of the company. -
WHITE IRONSTONE NOTES VOLUME 3 No
WHITE IRONSTONE NOTES VOLUME 3 No. 2 FALL 1996 By Bev & Ernie Dieringer three sons, probably Joseph, The famous architect Mies van was the master designer of the der Rohe said, “God is in the superb body shapes that won a details.” God must have been in prize at the Crystal Palace rare form in the guise of the Exhibition in 1851. master carver who designed the Jewett said in his 1883 book handles and finials for the The Ceramic Art of Great Mayer Brothers’ Classic Gothic Britain, “Joseph died prema- registered in 1847. On page 44 turely through excessive study in Wetherbee’s collector’s guide, and application of his art. He there is an overview of the and his brothers introduced Mayer’s Gothic. However, we many improvements in the man- are going to indulge ourselves ufacture of pottery, including a and perhaps explain in words stoneware of highly vitreous and pictures, why we lovingly quality. This stoneware was collect this shape. capable of whithstanding varia- On this page, photos show tions of temperature which details of handles on the under- occurred in the brewing of tea.” trays of three T. J. & J. Mayer For this profile we couldn’t soup tureens. Top: Classic find enough of any one T. J. & J. Octagon. Middle: Mayer’s Mayer body shape, so we chose Long Octagon. Bottom: Prize a group of four shapes, includ- Bloom. ing the two beautiful octagon Elijah Mayer, patriarch of a dinner set shapes, the Classic famous family of master potters, Gothic tea and bath sets and worked in the last quarter of the Prize Bloom. -
Volume 18 (2011), Article 3
Volume 18 (2011), Article 3 http://chinajapan.org/articles/18/3 Lim, Tai Wei “Re-centering Trade Periphery through Fired Clay: A Historiography of the Global Mapping of Japanese Trade Ceramics in the Premodern Global Trading Space” Sino-Japanese Studies 18 (2011), article 3. Abstract: A center-periphery system is one that is not static, but is constantly changing. It changes by virtue of technological developments, design innovations, shifting centers of economics and trade, developmental trajectories, and the historical sensitivities of cultural areas involved. To provide an empirical case study, this paper examines the material culture of Arita/Imari 有田/伊万里 trade ceramics in an effort to understand the dynamics of Japan’s regional and global position in the transition from periphery to the core of a global trading system. Sino-Japanese Studies http://chinajapan.org/articles/18/3 Re-centering Trade Periphery through Fired Clay: A Historiography of the Global Mapping of Japanese Trade Ceramics in the 1 Premodern Global Trading Space Lim Tai Wei 林大偉 Chinese University of Hong Kong Introduction Premodern global trade was first dominated by overland routes popularly characterized by the Silk Road, and its participants were mainly located in the vast Eurasian space of this global trading area. While there are many definitions of the Eurasian trading space that included the so-called Silk Road, some of the broadest definitions include the furthest ends of the premodern trading world. For example, Konuralp Ercilasun includes Japan in the broadest definition of the silk route at the farthest East Asian end.2 There are also differing interpretations of the term “Silk Road,” but most interpretations include both the overland as well as the maritime silk route. -
Research on the Specific Application of Ethnic Elements in Dynamic Visual Communication Design Based on Intangible Cultural Heritage
2019 7th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2019) Research on the Specific Application of Ethnic Elements in Dynamic Visual Communication Design Based on Intangible Cultural Heritage Ren Ruiyao Xi’an University, Shaanxi, Xi’an 710065, China Keywords: Intangible Cultural Heritage, Dynamic Visual Communication Design, National Element Abstract: from the Perspective of Inheritance and Protection of Intangible Cultural Heritage, by Widely Applying National Elements to the Field of Dynamic Visual Communication Design, Not Only Can Its Design Connotation Be Improved, But Also Be Conducive to the Transmission of Intangible Cultural Heritage. This Paper First Analyzes the Relationship between the Inheritance of Intangible Cultural Heritage and Dynamic Visual Communication Design, Then Discusses the Application Value of Ethnic Elements in Dynamic Visual Communication Design, and Finally Puts Forward Some Specific Application Countermeasures of Ethnic Elements. 1. Introduction Intangible cultural heritage is a valuable spiritual wealth left in the long history, which has a very high inheritance value. However, due to the lack of inheritance carrier and the change of social environment, many intangible cultural heritage is facing the crisis of loss. In view of this situation, by applying the representative ethnic elements to the popular dynamic visual communication design process, we can realize the innovation goal of inheritance carrier and give full play to the artistic and cultural value of intangible cultural heritage. 2. The Relationship between Intangible Cultural Heritage and Dynamic Visual Communication Design Dynamic visual communication design is a new form of artistic expression, which has a very wide range of audience and is loved by the public. -
CERAMIC ART and EXPRESSION: EXPERIMENTING with MOSAIC ART by Paul Owusu Attakorah BA (Integrated Rural Art and Industry) a Thesi
CERAMIC ART AND EXPRESSION: EXPERIMENTING WITH MOSAIC ART By Paul Owusu Attakorah BA (Integrated Rural Art and Industry) A Thesis submitted to the Department of Industrial Art, Kwame Nkrumah University of Science and Technology in partial fulfillment of the requirements for the degree of MASTER OF FINE ART (CERAMICS) College of Art and Built Environment © Department of Industrial Art June, 2015 i CERTIFICATION I hereby declare that this submission is my own work towards the MFA and that, to the best of my knowledge; it contains neither material previously published by another person nor material which has been accepted for the award of any other degree of the University, except where due acknowledgement has been made in the text. PAUL OWUSU ATTAKORAH ………………… …………… (PG 7278212) (STUDENT) SIGNATURE DATE Certified by: MR.ALBERT ASSUMAN ………………… …………. (SUPERVISOR) SIGNATURE DATE Certified by: DR. EBENEZER KOFI HOWARD ……………… ………… (HEAD OF DEPARTMENT) SIGNATURE DATE ii ABSTRACT Mosaic art has been practiced all over the world and generally in two dimensional forms. The main objective of this project is to depict Clay beads mosaic in a three dimensional form for better appreciation and artistic grandeur in clay medium. Inspired by the wisdom of the Egret bird, a design was developed to produce a thought- provoking piece titled “Wisdom Bead Mosaic”. This work was achieved through design thinking, systematic procedure and a tandem of artistic skills and studio practice. The materials used were clay, iron rods and binding wire. The nine (9) feet work provided stimuli among both artist and non-artist. It became evidently clear that mosaic art can be expressively executed in three dimensional and be a resource for beautifying the environment. -
SIN-YING HO Past Forward SIN-YING HO Past Forward
SIN-YING HO Past Forward SIN-YING HO Past Forward DENISE PATRY LEIDY professor at Queen’s College, City University of a clear glaze) in the mid-fourteenth century, began to A New York, Sin-ying Ho, whose work has been serve the Chinese court in the early fifteenth century, widely shown and collected, has developed one of and remains one of the primary centers of global the more unique voices in contemporary clay. Born porcelain production today. First used in China around in Hong Kong, she immigrated to Canada in 1992, the sixth century, porcelain, a combination of a clay initially to pursue a career in acting. After receiving a known as kaolin and the feldspathic rock petuntse that degree in ceramics from Sheridan College in Ontario fires at temperatures of 1200 to 1400 degrees Celsius, in 1995, Ho also earned a 1997 BFA in ceramics from was one of the great discoveries in global ceramic the Nova Scotia School of Art and Design in Halifax history. It was produced in Korea in the fifteenth cen- and a 2001 MFA from Louisiana State University in tury and Japan in the early seventeenth century, and it Baton Rouge. was finally created in the West in 1708 at Meissen in Germany. The reemergence of porcelain in studio, or Her training reflects the diversity of approaches to art, pottery in the 1970s and 1980s coincides with the ceramic-making in North America in the late twentieth ability of artists from around the world to live, work, century. While in Nova Scotia, Ho was introduced to and study in Jingdezhen.