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Robert Dawson and Richard Slee 18.06.2021 — 09.01.2022

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Robert Dawson and Richard Slee 18.06.2021 — 09.01.2022 musée suisse schweizerisches swiss museum de la céramique museum für for ceramics et du verre keramik und glasand glass genève genf geneva English Robert Dawson and Richard Slee 18.06.2021 — 09.01.2022 Un musée, Ville de Genève www.ariana-geneve.ch Director : Isabelle Naef Galuba Administrator : Corinne Müller Sontag Curator : Anne-Claire Schumacher Exhibition Curator : Sophie Wirth Brentini Conservator : Sandra Gillioz Visitor services and events : Hélène de Ryckel, Anne-Sophie Kreis et Sophie Wirth Brentini Communication : Laurence Ganter and Boris Dunand Translations : Deborah Fiette, Steven Wyss and Sándor Marazza Graphic design: Giganto Exhibition assembly : Timothée Maire Painting : Maïté Gendotti Digital printing and lettering : Atelier Richard Graphic design and printing : City of Geneva Photographic Credits © Robert Dawson et courtesy Richard Slee et Hales Gallery, London and New York : p. 4 © Musée Ariana, Ville de Genève. Photo : Mauro Magliani : p. 6 | p. 7 © Musée Ariana, Ville de Genève. Photo : Nathalie Sabato : p. 7 © Musée Ariana, Ville de Genève. Photo : Nicolas Lieber : p. 8 © Robert Dawson : p. 5 | p. 11 | p. 12 | p. 16 | p. 17 | p. 18 © Musée Ariana, Ville de Genève. Photo : Jean-Marc Cherix : p. 13 © courtesy Richard Slee et Hales Gallery, London and New York : p. 20 | p. 22 | p. 23 | p. 24 | p. 25 © courtesy Richard Slee et Hales Gallery, London and New York Photo : Keith Hunter : p. 26 All other illustrations : Musée Ariana, City of Geneva. This brochure has been produced to coincide with the exhibition “Pièces à problèmes – Robert Dawson and Richard Slee” at the Musée Ariana, Geneva, 18 June 2021 – 9 January 2022 Pièces à problèmes – Robert Dawson and Richard Slee Exhibition at the Musée Ariana, 18 June 2021 – 9 January 2022 For a quick overview of the exhibition brochure, go straight to pages 5 | 27 | 29 et 30 QR Codes You’ll find QR Codes on the exhibit labels for Robert Dawson’s works. You can scan them with your mobile phone camera or a free QR scanner app. You’ll then be able to discover the pieces from the Musée Ariana’s collections that inspired the artist and the reflections underlying his creative process. Contents Introduction ................................................................................................ p. 4 British Ceramics : an overview .................................................................. p. 6 Robert Dawson ............................................................................................ p. 10 Richard Slee ................................................................................................ p. 20 Robert Dawson and Richard Slee : problem pieces? ................................ p. 27 Robert Dawson : career .............................................................................. p. 29 Richard Slee : career .................................................................................... p. 30 Bibliography and references ...................................................................... p. 31 3 Introduction “If you came from another planet, the world would seem pretty weird.” Robert Dawson Robert Dawson was the instigator behind “Problem Pieces”, an exhibition project that developed from his nostalgic relationship with Geneva - the city where he grew up - and from his interest in the Musée Ariana. He scoured its collections and architecture over the course of two stays in Geneva to select motifs that he felt would work well visually when manipulated or presented in a different context. Whether he liked a motif or not did not influence his choice. The project proposed by Robert Dawson is also the opportunity, for the first time since 1993 (Against Nature, Sight Specific Gallery, Arundel, Sussex), to exhibit again as a duo with his friend, Richard Slee. Since that time, the two artists have worked in parallel, pursuing their individual approaches and continuing to share an affinity that goes beyond their taste for invented and subverted objects or motifs. These two figures met at Camberwell College of Arts where Richard Slee was teaching. They’ve since tackled certain shared themes, while employing very different ceramic languages: one proposes composite objects with bright and shiny surfaces, while the other explores the texture of raw clay on canvas. The Musée Ariana displays here a panoply of objects that, while certainly have the potential to destabilise visitors, offer an original perspective from which to contemplate the world. Robert Dawson (1953) Extra Dry, 2019 Clay on canvas H. 106 cm Richard Slee (1946) Swan, 2014 Wheel-thrown, moulded and extruded earthenware, glaze, latex H. 43 cm ; W. 68 cm 4 Problem Pieces ? Do Robert Dawson and Richard Slee define themselves as ceramists or artists ? To this question, Richard Slee responds that throughout his career he’s been alternately ‘potter’, ‘studio potter’, ‘ceramicist’ and ‘ceramic artist’, but he thinks he might well end up as ‘artist’. For his part, Robert Dawson replies that he spends his days playing with different machines and materials and doesn’t consider himself either an artist or ceramist. For Slee, the question isn’t actually of fundamental importance, since ceramics is more a discipline than an art as such. Dawson, for his part, regrets the term ‘ceramicist’: “Who would want to be defined in terms of one material ?”. He continues, “… in fact, everyone’s an artist”. Both certainly reject the unhealthy rigidity of any form of categorisation. “The only thing I could possibly revere would be mystery itself – as well as instability, change and our insecurity. If we didn’t have them, if we weren’t so vulnerable, life would be unliveable” (Robert Dawson). In this joint exhibition, the two artists pose for us an open-ended question. Its title, “Problem Pieces”, was chosen by the artists and comes from the Musée Ariana’s storerooms: it’s the title of a Compactus shelving unit where items from the collection with attribution issues are kept. The only thing we know for sure about these pieces is that their initial attribution is to be ruled out, but we haven’t yet discovered their true identity. This is nevertheless a dynamic ensemble whose composition evolves regularly. With the aid of ongoing research and visits by international experts, particularly during the preparation of exhibitions, these works gradually acquire a more precise position in the history of ceramics. The title this storage space inspired in Robert Dawson and Richard Slee catches our attention immediately, of course, and recalls our two artists’ constant questioning : fixed concepts, the world and more specifically the arts, are all subject to their scrutiny. The Musée Ariana’s storerooms 5 British ceramics : an overview Richard Slee (1946) and Robert Dawson (1953) are among the artists whose work is nourished by changes in the arts and design on the international level. They are sensitive to the society around them, while at the same time possessing a creative dynamic that echoes the generations preceding them. During the 1960s, in the huge wake left behind by Bernard Leach (1887-1979) – so predominant in Britain from the 1920s onwards as to become almost an orthodoxy – a new group of modernist ceramists emerged. They were united by their relationship to material, while having different forms of aesthetic expression. Lucie Rie (1902-1995), Ruth Duckworth (1919-2009), Hans Coper (1920-1981) and Gordon Baldwin (1932) took ceramics beyond its traditional boundaries. This approach matured in the 1970s and brought about major changes in British schools of art. Hans Coper (1920-1981) Vases on bases Cyclade, 1975; 1971; 1974 Wheel-thrown and handbuilt stoneware, black and white glazes H. 22.5 cm; H. 21.8 cm; H. 24.7 cm Musée Ariana, Inv. AR 2018-230 ; AR 2015-181 / 182 Gift of Frank Nievergelt, 2015 6 Lucie Rie (1902-1995) Vase, 1983 Dish, 1976 Wheel-thrown and engraved porcelain, oxide H. 26.8 cm ; Diam.13.7 cm Musée Ariana, Inv. AR 2015-279 / 276 Gift of Frank Nievergelt, 2015 Gordon Baldwin (1932) Vessel on base, 1984 Moulded earthenware, glaze, blue, white and black painted decoration H. 29 cm ; W. 38.5 cm Musée Ariana, Inv. AR 2003-392 Legs Charles Roth, 2001 The following generation of ceramists fundamentally transformed contemporary British ceramics, moving away from wheel throwing and utilitarian production and choosing brighter colours. They also worked with a more diverse range of clays and showed a certain eclecticism in their forms. Their great freedom of expression was always based on sound technical mastery. 7 Elizabeth Fritsch (1940) Dish, 1975 Handbuilt grogged stoneware, blue and white matt glaze H. 12.3 cm ; W. 15 cm Musée Ariana, Inv. AR 5767 In the late seventies, Elizabeth Fritsch (1940), Carol McNicoll (1943) and Alison Britton (1948), stood out – along with Richard Slee (1946) – through pieces created using unconventional techniques, pushing back the boundaries of functional ceramics and never scared of taking risks. They number among the most committed ceramists of this new ceramic movement in the UK, working with excessive, almost baroque, forms of expression. Highly innovative, they polarised opinion at times, often receiving more recognition abroad than in their own country. Their style questioned materials and firing, what the most conservative referred to as “the proper work of the potter”. In the early 1980s, following on from those of the Central School of Arts and the Royal College of Art, a new generation of talented ceramists emerged at Camberwell College of Arts.
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