DOCSLIB.ORG

New Zealand Potter Volume 7 Number 2 February 1965

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New Zealand Potter Volume 7 Number 2 February 1965 volume 7 number 2 feb. 1965 New Zealahd POTTER M «(M/922K I / \ I NEW ZEALAND POTTER VOL. 7 NO. 2 “4/ ALfl/{U C 0 N T E N T S EXHIBITIONS ISSUE EDITORIAL ................................................ Page 2 PHOTO CREDITS ............................................ Page 2 EXHIBITIONS .............................................. Page 3 SUNG KILNS OF CHUN AND JU — Rewi Alley ................... Page 8 CABBAGE AND BEANCURD — Rewi Alley ........................ Page 9 GLAZING OF EARTHENWARE - O.C. Stephens .................. Page 11 PRIMITIVE POTTER'S WHEEL - Ray Chapman-Taylor ............ Page 16 NEW ZEALAND CRAFT CONFERENCE ............................. Page 16 WORLD CRAFTS COUNCIL .................................... Page 17 CRAFTS IN THE U.S.A. — Mary Hardwick—Smith ............... Page 18 FUNCTION AND FORM - Barry Brickell ....................... Page 21 CHANGING CLIMATE ......................................... Page 26 HANS COPER ............................................... Page 27 8TH NEW ZEALAND POTTERS' EXHIBITION ...................... Page 29 VISIT OF SHOJI HAMADA .................................... Page 41 CORRESPONDENCE ........................................... Page 44 BOOK REVIEW .............................................. Page 45 A KILN DESIGN — Roy Cowan ................. .............. Page 45 NEW ZEALAND SOCIETY OF POTTERS ........................... Page 53 POTTERS .................................................. Page 57 EXHIBITIONS EDITORIAL Now that the constitution of the New we hope that the interests of the serious NEW ZEALAND SCULPTURE, POTTERY AND Zealand Society of Potters is formally potters will not be overlooked. .The GRAPHIC ART passed we have a sound basis of viewpoint of the committed potter is New Zealand Academy of Fine Arts, organisation, one which has evolved different from that of the casual potter August 22 to September 13, 1964. naturally out of the needs of potters and we feel that a distinction and their local societies. In the pro~ must be kept in mind. cess we have all learnt a great deal about the workings of democracy and of This magazine, during most of the seven politics and should be better citizens years of its existence, has acted as a as a result. contact point for potters and has been the means of keeping the Annual Exhibi— The Society will ensure that matters of tion together. At times we have been national importance are given a fair nearly swamped by the burden of adminis— hearing, and also provide a measure of tration, simply because there was no protection for those taking the respon— one else to do it. The initiative for New Zealand sibility of administration and for the forming the Society came from us: it Academy of Fine Arts Exhibi— the purpose of "applied art" is obvious tion of New Zealand Selection Committees of future national was the logical stage of development to Sculpture, Pottery even to the most obtuse. Secondly, from and Graphic Art, exhibitions. It should also, at the safeguard the common interest. However August 22 to September the artist's point of view, it is a dis— 13, 1964. This is Annual General Meetings, provide a venue we have kept our independence because we now established as ciplined, strictly regulated craft to an annual show for the discussion of controversial believe in the flexibility that comes well worthy of support by which he returns after the flights of potters. The three matters and for the airing of criticism. with freedom and the individual effort. media offset each fancy and the doodling of abstract art. other in a manner A lively Annual General Meeting denotes It is with great relief that we Can now much appreciated by Pottery is the exact opposite of un— the a lively Society, and this is what we get on with our function of publishing public. In her review of the Arts planned "free creation". hOpe the New Zealand Society of Potters useful information, and observing, re— in Wellington in the November issue of Home will be. In the endeavour to be fair to cording and commenting on potters and and Building, Dr. G.E. Bell says: If modern painting has dissolved com— all those interested in pottery, however, their pots. pletely the human shape as well as the The exhibitions of the New Zealand ”real” landscape, so that except for Academy of Fine Arts are a happy hunting the explanatory but often misleading ground for the art critic and they could titles, they are no longer recognisable, also prove useful to the sociologist. in the field of ceramics this disappear— As far as I know not much has been done ance of form is impossible. A coffee on these PHOTO CREDITS lines but such a study would be pot, a flower vase, a bowl, however well worth—while (beginning with the imaginatively executed (and in this Show Page 3 Roy Cowan full dress ceremonial and the presence not all of them were), will still 4 : Robin Smith Photography Ltd. remain Page of V.I.P's on opening night). identifiable objects. Page 16 Roy Chapman—Taylor Pages 21 to 24 Roy Cowan and Helen Mason Page 27 Brian Moss These reflections are prompted by the Page 28 Fiona Pitt Academy's recent ”Exhibition of New Page 29 Brian Moss Zealand Sculpture, Pottery and Graphic Pages 30 and 31 Drawing by Geoffrey Nees Art", which, generally speaking, 32 Pitt reached Cover Photo: Page Fiona a higher standard than the Pages 34, 37, 38, 39 David Carson—Parker usual shows of paintings. The bulk of Lantern by Roy Cowan, Page 40 : Top, Brian Moss. Bottom: Lloyd C. Park the 350 exhibits were pottery. There Page 46 : Roy Cowan, Helen Mason. seem to be two reasons why this craft is 18" high: Page 48 ~ Kiln Plan and Diagrams: Roy Cowan so fashionable not only with the buying Page 57 Top, Photocraft, Nelson. Bottom: Helen Mason public but also with the producing Page 58 Studio Landau craftsmen. One is utilitarian: photo Brian Moss cera— Page 59 Helen Mason mics are ”useful" as far as the people at the receiving end are concerned; for 3 like to refer all potters back to that from the miniature bottle to the textures excellent article on Earthenware by John on the twig jar and the large bottle. Wood in New Zealand Potter Vol.5, No.1, and insist that all potters working in Roger Ewer's fountain, rather shameless- earthenware take Kenneth Clark's "Prac— 1y used as a grand focal point in the tical Pottery & Ceramics" as required Exhibition, was an interesting piece but reading. ' I personally feel that the remainder of his pots wear their apparent brutality Apart from a few quiet pots in earthen— as a cloak to a nature essentially gentle. ware (Judy Hewett and Rachael Rose, who both had some delightful pieces), I ached The Exhibition was staged using the na— to see some flamboyant colours and bold tural textures of stone paving, dressed decoration. pinus boarding, piers of concrete block— work, timber logs and sea worn stones to Paradoxically it was three stoneware pots contrast with the pots. of Graeme Storm which scored with their incredibly purple glaze. They acted as a In general I'd like to have seen a more grand foil to the more subtle delights of adventurous Spirit in both earthenware the rest of his pots. I was grateful for and stoneware. There seems to be no one the light touch of whimsy in Patricia working in sculpture or large architec- Perrin's "Jar with Bamboo Spoon” and tural slabs or terracottas. Overall I heart—warming fullness of her "Inflated think that a fair standard of pottery Grass Vase”. was achieved despite the lack of any major masterworks. It was an interesting Both of Christchurch's full time potters, show, one which was well patronised and Michael Trumic and Warren Tippett, have which created a remarkable amount of been dogged by accidents and kiln fail- public interest. ures and neither was seen at his best. The work of two other Christchurch pot— David Brokenshire ters, Nola Barron and Roie Thorpe, was Exhibitions well worth looking at. Mirek Smisek, since his return from the CANTERBURY POTTERS' ASSOCIATION Helen Mason showed a grand collection of Leach Pottery, England, has had several FIRST EXHIBITION ”fired clay”. Basic shapes, adventure- one man shows in different parts of the some glazing and fundamental thoughts country and has taught at some weekend about clay in use were boldly evident. schools, thus passing on some of the From 15th—25th September the Canterbury a selector. Apart from a few isolated It was good to see Mirek Smisek's pots knowledge gained from his Arts Advisory Potters' Association held their first examples it was a pity that advantage' after his year at St. Ives. At first Council bursary. Exhibition Sponsored by Hays Ltd., wasn't taken of this opportunity. glance the same as before, then the Christchurch, and mounted in their Amongst the Guest Potters the exhibition startling realisation that these pots Adrian Cotter, Potter and Arnaud Barraud, Gallery. The work of Canterbury Potters attracted good examples from work by have gained in vitality and seem to ex— Painter at the Uptown Gallery, Auckland, was shown together with that of 17 Carl Vendelbosch, Roy Cowan, Juliet press a quality of soul not previously December 7 to 24. Of this exhibition Guest Exhibitors. Juliet Peter selected Peter, Doreen Blumhardt, Lee Thomson and evident. B.B. in the "Evening Star” said: "There the work of the local potters while the Peter Stichbury. The offering from Crewenna Pottery was is nothing insubstantial about Adrian guests set their own standard. tremendously valuable — an object lesson Cotter's pots. These are all rugged in The most serious criticism is that stone- in control, precision of finish and in shape and robust in body. Cotter offers The invitation to Guest Potters to con- ware pots were shown and earthenware pots some pieces the particular joy of deli— little refinement in decoration, depend— tribute was a valuable one.
Load more

Recommended publications
  • Hans Coper Kindle
    HANS COPER PDF, EPUB, EBOOK Tony Birks | 224 pages | 29 Sep 2013 | Stenlake Publishing | 9781840336221 | English | Ayrshire, United Kingdom Hans Coper PDF Book The two most bankable names in this market are Hans Coper and Lucie Rie and their work can usually be relied on to dominate the top price slots. Coper and Rie worked to create functional wares often co-signing their works. News topics. His works are characterised by their innate tonality and carefully worked surface textures. To ensure you the best experience, we use cookies on our website for technical, analytical and marketing purposes. Site by Artlogic. Coper's work was widely exhibited and collected even in his lifetime. These elements are…. Simply because of their economy and concision, their qualities of distilled expansiveness to border on a contradiction in terms that carries some of the essence of the earliest vessels and figures Cycladic forms are often cited while having a very 20th century consciousness. German-born, Coper initially came to Britain in , and from worked with Lucie Rie in her London studio, moving to Hertfordshire in , and subsequently to Somerset. Invalid Email Address. Vintage Fashion Textiles. A metal alloy made from copper with up to two-thirds tin, often with other small amounts of other metals. From Wikipedia, the free encyclopedia. External Websites. In the first element of a two-part feature, ATG considers the London market. Wright Auction. Waistel Cooper in his own world 04 January Once dismissed as a mere Hans Coper follower, the studio potter is now in rising demand. American Design. Hans Coper — Hans Coper Writer He came to England in but was arrested as an alien and sent to Canada, returning to England in where he enrolled in the Pioneer Corps.
    [Show full text]
  • Fire + Earth Catalogue
    Table of Contents Artists Robert Archambeau ................................................1 Ann Mortimer.....................................................112 Loraine Basque........................................................4 Diane Nasr..........................................................115 Alain Bernard..........................................................7 Ingrid Nicolai......................................................118 Robert Bozak ........................................................10 Agnes Olive.........................................................121 John Chalke ..........................................................13 Walter Ostrom ....................................................124 Ruth Chambers.....................................................16 Kayo O’Young.....................................................127 Victor Cicansky.....................................................19 Greg Payce ..........................................................130 Jennifer Clark........................................................22 Andrea Piller .......................................................133 Bonita Bocanegra Collins ......................................25 Ann Roberts........................................................136 Karen Dahl ...........................................................28 Ron Roy..............................................................139 Roseline Delise......................................................31 Rebecca Rupp .....................................................142
    [Show full text]
  • Hans Coper and Pupils Press Release
    Hans Coper, Lucie Rie & Pupils Hans Coper, Spade Form (1967) height 19 cms. Image: Michael Harvey Influential potter Hans Coper (1920-1981) was a champion of arts education. “His teaching had the same integrity and strength as had his pots; graceful, direct, precisely and sensitively tuned...” 1 In this his centenary year, Oxford Ceramics Gallery celebrate this element of Coper’s work with their forthcoming exhibition Hans Coper, Lucie Rie and Pupils (15th May - 4th July) A leader in the development of ceramics in the twentieth century Coper taught at Camberwell and then at Royal College of Art alongside his own teacher and mentor Lucie Rie (1902 - 1995). 1 Tony Birks. Hans Coper. (New York: Harper & Row, 1983), 61. Group of works by Lucie Rie on shelf including Bronze Vase (central) alongside a coffee pot and jug with white glaze and pulled handles. Newly sourced examples of Coper’s work are shown alongside fine examples from Lucie Rie and key works from the following generation of their pupils who went on to define the range and creative brilliance of British Studio Pottery. Exhibitors in- clude: Alison Britton, Elizabeth Fritsch, Ian Godfrey, Ewen Henderson, Jacqueline Poncelet & John Ward. Alison Britton, White Jar (1991) 34 x 46 x 19.5 cm. image: James Fordham. Born in Chemnitz, Germany, Hans Coper (1920-1981) came to England in 1939 as an engineering student and in 1946 he began working as an assistant to the Austrian potter Lucie Rie (1902-1995) in her studio in London, taking him on with no formal training in ceramics.
    [Show full text]
  • Fritsch E Biography
    Elizabeth Fritsch CBE Curriculum Vitae Born 1940, Wales 1958-1964 Birmingham School of Music & Royal Academy of Music, London 1968-1971 Royal College of Art, London, MA Ceramics Working in London Museums and collectors across the world have been admirers of Elizabeth Fritsch's work for decades. Her hand-built fore-shortened forms combined with rhythmic patterns are signatures that are widely-recognised and inspired by her training as a classical musician before turning to ceramics. Works are often grouped together and juxtaposed so that the rear or side of a vase balances or provides a counterpoint to a neighbour. Having graduated from the Royal College of Art, London in 1971, Elizabeth is regarded as one of the UK's leading ceramic artists. Elizabeth Fritsch -2 - Selected Solo Exhibitions 2010 Dynamic Structures: Painted Vessels, National Museum Cardiff, Wales, in association with Adrian Sassoon 2008 The Fine Art Society, London 2007 Anthony Hepworth Fine Art, Bath 2000 Memory of Architecture, Part II, Galerie Besson, London Metaphysical Vessels, Mobilia Gallery, Cambridge, USA 1998 Sea Pieces, Contemporary Applied Arts, London 1995-1996 Metaphysical Pots, Museum Bellerive, Zurich, Switzerland & tour to Munich, Halle & Karlsruhe, Germany 1994 Order and Chaos, Bellas Artes, Santa Fe, USA Osiris Gallery, Brussels 1993-1995 Vessels from Another World, (retrospective) Northern Centre for Contemporary Art, Sunderland & tour to Aberdeen, Birmingham, Cardiff, London, Norwich 1992-1993 Pilscheur Fine Art, London, (retrospective) 1990-1991 Hetjens
    [Show full text]
  • Masterpieces of Modern Studio Ceramics
    Masterpieces of Modern Studio Ceramics Ceramics is having a bit of a moment. Last year alone featured exhibitions such as: Things of Beauty Growing: British Studio Pottery at the Yale Center for British Art, opening at The Fitzwilliam Museum, Cambridge, this March, That Continuous Thing at Tate St Ives, Clare Twomey’s Factory installation take-over at Tate Exchange, Keith Harrison’s Joyride spectacle for Jerwood Open Forest Commission, as well as the incredibly successful British Ceramics Biennale, Stoke-on-Trent. The profile of British studio ceramics is growing, presenting the perfect opportunity to celebrate the relationship between studio ceramic practice and British modernism. Beginning in the early 20th century, the British studio ceramics movement reinvigorated a long- standing tradition of making objects from clay, by hand. These objects span familiar forms, such as domestic functional vessels, to abstract and non-functional, often sculptural, forms. Sitting at the heart of Crafts Council Collections, British studio ceramics provide a cross-generational narrative of innovation, invention and tradition. Featuring works from the Crafts Council, The Fitzwilliam Museum and three specialist UK galleries, this display presents nearly 90 years of practice, and features functional, sculptural, abstract and figurative forms, presenting a snapshot of work and makers to inspire. Annabelle Campbell and Helen Ritchie (curators) THE GALLERIES: Erskine Hall and Coe Marsden Woo Gallery Oxford Ceramics Gallery 15 Royal Arcade 229 Ebury Street 29
    [Show full text]
  • Hans Coper – (1920 – 1981)
    HANS COPER – (1920 – 1981) Hans Coper was among the artists who fled Hitler’s Germany in the late 1930’s and settled in England. Employment in the ceramic button workshop of fellow refugee Lucie Rie resulted in both his introduction to ceramic art, which would become his life’s work, and a close friendship with Rie that would be mutually supportive and enriching. Coper and Rie worked together at her studio until 1958 when Coper set out on his own. By that time he was already a recognized potter, but in the years to come his style would mature and he would become one of the major figures of twentieth century ceramics. His stoneware vessels were wheel-thrown and then altered and assembled and finished with oxides, slips and textures. The pieces are sculptural, not functional, but are always vessels reflecting Coper’s commitment to what he called the essence of the clay. Hans Coper’s work and life were cut short by the onset of amyotrophic lateral sclerosis (ALS) in 1975 which diminished his ability to work and ultimately took his life in 1981. “Although Lucie Rie outlived Hans Coper by fourteen years, and the aims of modern potters were reshaped in this period, no one has come forward to take their place, especially the place of Hans. He combined originality with an uncompromising search for excellence, and his legacy of work is his memorial.”1 1. Tony Birks. Hans Coper. (New York: Harper & Row, 1983), 79. ARTIST’S STATEMENT – HANS COPER “My concern is with extracting essences rather than with experiment and exploration.
    [Show full text]
  • Catalogue-Steven-Heinemann-Culture-And-Nature.Pdf
    single line single line heavy stacked stacked heavy Contents 4 Acknowledgements 9 Preface | Kelvin Browne 10 Steven Heinemann: Culture and Nature | Rachel Gotlieb 24 Steven Heinemann in Context | Janet Koplos 33 Catalogue of Works 34 early work 38 negatives and pods 44 constructed forms and disks 50 bowls 64 closed forms 68 altered and extended forms 74 recent work 84 In Conversation | Kelvin Browne and Steven Heinemann 90 Photo Credits and Copyright Left: Has Bean, 2017 (detail, cat. 68) Acknowledgements I have had the good fortune of growing up with amazing The Gardiner Museum is grateful to Steven Heinemann for parents, Andrew and Eva Heinemann; truly a tough act to follow. sharing his creative genius and artistic process with the public To them and my remarkable partner and fellow artist Chung-Im in Steven Heinemann: Culture and Nature. We extend our thanks Kim, my profound gratitude. to guest curator and contributing author Rachel Gotlieb, as well as exhibition and book designers Debi Perna and Eric Siegrist The idea behind this show was initiated some years ago by for taking us on a captivating journey. We also wish to thank Sue Jefferies. For that and for all she has contributed to Janet Koplos for her contribution to this publication. The Canadian ceramics, my deepest thanks. Raphael Yu kept the idea Gardiner acknowledges Steven Heinemann and all the collectors alive and has single-handedly captured a fertile period in this and institutions in Canada and the United States for lending country’s ceramic history through his passionate and dedicated works to the exhibition.
    [Show full text]
  • Lucie Rie – (1902 – 1995)
    LUCIE RIE – (1902 – 1995) Over a lifetime that spanned nearly the entire 20th century, Lucie Rie produced a large body of work: elegant and austere, richly glazed in a once-fired oxidizing kiln; delicate and modern in a time when the ceramics world looked toward large and bold. One of the artists who fled the brutality of Adolph Hitler, the Austrian-born Rie became a British citizen and embraced her new country. Along with fellow refugee Hans Coper, she struggled at first to find acceptance in British ceramics, which was then under the strong influence of Bernard Leach, during times dominated by the difficulties imposed by World War II. In time Leach came to admire her work and to be a strong supporter of hers, and both Rie and Coper went on to careers whose separate paths and distinctive styles never altered their strong friendship, admiration and appreciation for each other. For over 60 years she made functional pottery, startling beautiful in its simplicity but always wheel-thrown functional pots meant to be used. At the time of her death Dame Lucie Rie had been honored with major retrospectives in both London and the United States and had received the distinguished awards from her adopted country of OBE, CBE, and DBE. ARTIST’S STATEMENT – LUCIE RIE “I make pots. Put flowers in them, use them. They are for use.”1 “ I work in a completely unorthodox manner, no longer using any form of scientific method. I glaze my pots raw, often using a number of glazes on top of each other and sometimes between one glaze and the next layer of slip.”2 1.
    [Show full text]
  • The Art of Silence
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The art of silence. Lydia Anne Kowalski University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Arts and Humanities Commons Recommended Citation Kowalski, Lydia Anne, "The art of silence." (2017). Electronic Theses and Dissertations. Paper 2825. https://doi.org/10.18297/etd/2825 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE ART OF SILENCE By Lydia Anne Kowalski B.S., Indiana University, 1971 M.C.P., Massachusetts Institute of Technology, 1973 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Comparative Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Lydia Anne Kowalski All rights reserved THE ART OF SILENCE By Lydia Anne Kowalski B.S., Indiana University, 1971 M.C.P., Massachusetts Institute of Technology, 1973 A Dissertation Approved on November 6, 2017 by the following Dissertation Committee: _________________________________ Dissertation Director Dr. Ann Hall _________________________________ Second Committee Member Dr. Guy Dove _________________________________ Third Committee Member Dr.
    [Show full text]
  • JENNIFER LEE Represented by Frank Lloyd Gallery
    JENNIFER LEE Represented by Frank Lloyd Gallery Born 1956, Aberdeenshire, Scotland Lives and works in London EDUCATION 1979 Edinburgh College of Art, Dip AD 1980 Traveling Scholarship to the USA 1983 Royal College of Art, London, MA RCA EXHIBITIONS One Person 2013 Erskine, Hall & Coe, London, United Kingdom 2012 New Work, Frank Lloyd Gallery, Santa Monica, California 2010 Liverpool Street Gallery, Sydney, Australia 2009 Recent Work, Frank Lloyd Gallery, Santa Monica, California 2008 Galerie Besson, London, United Kingdom 2006 Liverpool Street Gallery, Sydney, Australia 2005 New Work, Frank Lloyd Gallery, Santa Monica, California 2003 Galerie Besson, London, United Kingdom 2002 Frank Lloyd Gallery, Santa Monica, California 2000 Galerie Besson, London, United Kingdom 1999 James Graham & Sons, New York 1998 Focus, Contemporary Applied Arts, London, United Kingdom 1997 Galerie Besson, London, United Kingdom 1996 James Graham & Sons, New York 1995 Galerie Besson, London, United Kingdom 1994 Jennifer Lee - Handbuilt Ceramics 1979-1994, Aberdeen Art Gallery and Museums, Aberdeen, United Kingdom Osiris, Brussels, Belgium 1993 Galleri Lejonet, Stockholm, Sweden Röhsska Konstslöjdmuseet, Göteborg, Sweden 1992 Gallerie Besson, London, United Kingdom Gallery Lejonet, Stockholm, Sweden Röhsska Konstslöjdmuseet, Göteborg, Sweden 1991 Graham Gallery, New York 1990 Galerie Besson, London, United Kingdom 1987 Crafts Council, Victoria and Albert Museum, London, United Kingdom Beaux Arts, Bath, United Kingdom Jennifer Lee Page 2 1986 Craft Centre, Royal
    [Show full text]
  • Stair J Biography
    Julian Stair Curriculum Vitae Born 1955, Bristol, England 1974-1978 Camberwell School of Arts and Crafts, London, BA Ceramics 1978-1981 Royal College of Art, London, MA Ceramics 1998-1999 Fellow in Craft and Criticism, University of Northumbria at Newcastle 2002 Royal College of Art, London, PhD: Critical Writing in British Studio Ceramics Working in London Julian Stair’s works are often described as minimalist. His pieces are noted for their restrained decoration, the elimination of unnecessary details and the use of a muted colour palette. Julian is interested in the place of pottery in contemporary culture and in the ideas of function rather than in the concepts of abstraction and emptiness. The shapes, surfaces and decoration, or rather the lack of it, all suggest the possibility of use, if not its reality. Stair's cups and teapots are not intended to remain forever on their grounds, or pedestals, but rather the grounds are a home for the cups from which they are removed and returned. Thus this removal from and return to the grounds becomes part of the ritual of their use and plays on the banality of the teacup and the sacredness of the ceremonial cup. Julian's work echoes the minimalism of the 1960s in that it can be described as having no internal composition, is a function of the space it inhabits and has a hint of the prototype about it. Julian also draws on the still life, a genre artists have used traditionally to comment on everyday life and in which every element had a meaning known to both the artist and the viewer.
    [Show full text]
  • A Just Joy N!
    Visitor information 10 November 2016 – 26 February 2017 Contact us Open daily 10am – 5pm (Fridays 10am – 2pm) [email protected] Left: Lucie Rie, Bowl, 1977, courtesy of Tyne & Wear Archives & Museum Last admission 30 minutes before closing. 020 7284 7384 and Estate of the Artist Closed 25 and 26 December 2016, 1 January Below: Ruth Duckworth, Pot, 1972, courtesy of York Museums Trust and 2017. Check website for full details of Estate of the Artist opening hours. Access jewishmuseum.org.uk/ceramics The museum has step-free access throughout and accessible toilets. Large print texts are Shaping Ceramics explores the work Featured artists: Admission (includes permanent galleries and available. Guide and assistance dogs are Dan Arbeid Janet Haig temporary exhibitions) of these pioneering ceramicists and welcome. Carers are admitted free. traces their influence on subsequent David Breuer-Weil Grete Marks Adult £7.50* David Cohen Lucie Rie Concession £6.50* generations of ceramic artists whose Shop Hans Coper Antonia Salmon Child (5-16) £3.50 Browse our range of exhibition merchandise Jewish heritage has shaped their Edmund de Waal Ray Silverman Family ticket £18 (two adults and up to including gifts, books and souvenirs. work. Highlights include the work of Ruth Duckworth Jenny Stolzenberg four children) Ray Silverman, who studied under Rie David Jones Free for Museum Friends and National Art and Coper, including a selection of his Pass holders Eat Take a break during your visit and enjoy fresh distinctive stoneware and porcelain This exhibition is generously supported by: * Prices include £1 voluntary donation for Gift Aid purposes Acacia Charitable Trust sandwiches, delicious drinks and sweet treats.
    [Show full text]