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Annual Report 2018–2019 Artmuseum.Princeton.Edu
Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb. -
List of Works October 6 — November 29, 2020 Heiseikan, Tokyo National Museum
List of Works Organizers : Tokyo National Museum, The Yomiuri Shimbun, Agency for Cultural Affairs With the Special Sponsorship of : Canon Inc., East Japan Railway Company, JAPAN TOBACCO INC., Mitsui Fudosan Co., Ltd., MITSUBISHI ESTATE CO., LTD., Meiji Holdings Co., Ltd. With the Sponsorship of : October 6 — November 29, 2020 SHIMIZU CORPORATION, Takashimaya Co., Ltd., TAKENAKA CORPORATION, Sumitomo Mitsui Banking Corporation, Mitsubishi Corporation Heiseikan, Tokyo National Museum With the Cooperation of : Aioi Nissay Dowa Insurance Co., Ltd. Notes • The arrangement of works in the galleries differs from the catalogue section structure. • The same artwork numbers are used in both the catalogue and the galleries, but the works are not displayed in numerical order. • The following – symbols indicate that object’s respective section. Momoyama Essence: Art for Unifying Figures A Century of Change: Muromachi to Edo Momoyama Prelude: Warring States Aesthetics Making Tea: Chanoyu from Rikyū to Oribe Mature Momoyama: From Splendid to Stylish Equipping a General: Arms and Armor Towards Peace: Art for a New Shogunal Era • Key to symbols on illustrations: ◉ = National Treasure, ◎ = Important Cultural Property. • Some artworks may be rotated during the exhibition period. Exhibition lineup may change as circumstances require. • Works are on view throughout the exhibition period unless otherwise indicated. The rotation schedule is as follows. ① 10 / 6 (Tue.) – 11 (Sun.) ② 10 / 13 (Tue.) – 18 (Sun.) ③ 10 / 20 (Tue.) – 25 (Sun.) ④ 10 / 27 (Tue.) – 11 / 1 (Sun.) ⑤ 11 / 3 (Tue.) – 8 (Sun.) ⑥ 11 / 10 (Tue.) – 15 (Sun.) ⑦ 11 / 17 (Tue.) – 23 (Mon.) ⑧ 11 / 25 (Wed.) – 29 (Sun.) ― * The floor plan shows the 1st period’s gallery arrangement. -
Japan Ese Pottery Being a Native Report with an Introduction And
S OUTH KENSINGTON MUSEUM ART HANDBOOK JAPANESE POTTERY J A PA N E S E POTT E RY BE IN G A N ATIV E REPORT WITH A N I NTROD U CTION A N D C ATA LOGU E w R N M A . P. A U GUS T US F A KS , . , S A . WITH I LLUSTRATI O N S AN D MARKS ” ’ ‘ ' P ublic/zed f or 1113 Commz z fee of Counc il on E duc alz on BY L . LOND ON : C HA PMA N A N D HA LL, D F . M . E V N S A N D c o . L I M IT E D C RYS T L P L CE A , , A A A , CON TEN TS . H isto ry Tec hnique S hapes and uses o f vases Dec o rati on Marks REPORT A N D CATA LOGU E A nc ient wares Karatsu ware Seto ware Xi- Seto ware Shin o ware Ge m pin ware Oribe ware S eto - Suke ware Seto - Kuro ware I nu- yam a ware Mi no ware Bizen ware vi jA P A N E S E P OTTE R Y. hi araki 0 0 S g ware 0 I ga ware Tamba ware Shito to ware Zeze A sahi ware Takatori ware Hagi ware Matsum o to ware idsum o ware Fujxna ware A kahada ware Minato ware Yanagawa ware T oyo - ura ware Raku ware Ohi ware H oraku ware [A sakusa] Raku ware [To kio] Raku ware [Osaka] Raku ware [Dfihac hi] Raku ware Fushimiware I mado ware Ki6to ( S aikiyo ) fac tories N inseiware A wata ware Kenz an ware Kiyom idz u ware Ye iraku ware O to ware N T T CO E N S . -
Contemporary Japanese Ceramics from the Gordon Brodfuehrer Collection
Checklist Nature, Tradition and Innovation: Contemporary 4/27/2017 Addendum A Japanese Ceramics from the Gordon Brodfuehrer Collection Dimensions (in) Installation # Artist Title Date Medium Notes Image Crate # H x W x D notes Requires Naoki Unglazed 2 1 Nerikomi Vase 2009 17 16 1/2 6 Bizen ware 2 person Yokoyama stoneware Tray 10 handling Glazed locked 1 2 Takahiro Ishii Sake Cup 2006 2 1/4 2 2 1/8 Oribe ware stoneware vitrine Tray 5 required Be aware of Yukiya jagged and 1 3a SekisohVase 2012 11 1/2 3 1/4 11 Stoneware Izumita rough Tray 5 edges New copy to IA&A Digital be printed 3b Taijiro Ito Bark 2008 16 24 provides n/a photograph by each digital file venue locked Ken Glazed Oribe - vitrine 1 4 Vase 2011 9 3/4 9 3/8 4 3/8 Matsuzaki stoneware Shino ware required Tray 6 Sea Spray Mitsunori Glazed Karatsu 1 5a Breaking on 2011 1 3/8 16 3/4 8 1/2 Tokuzawa stoneware ware Tray 1 Rocks New copy to IA&A Waves Crashing Digital be printed 5b Taijiro Ito 2008 16 24 provides n/a on Rocks photograph by each digital file venue Page 1 of 12 Checklist Nature, Tradition and Innovation: Contemporary 4/27/2017 Addendum A Japanese Ceramics from the Gordon Brodfuehrer Collection Dimensions (in) Installation # Artist Title Date Medium Notes Image Crate # H x W x D notes Sakurei Ancient Tree Glazed Karatsu 1 6a 2010 3 19 1/8 19 Okamoto Large Platter stoneware ware Tray 3 New copy to IA&A Digital be printed 6b Taijiro Ito Pine Tree 2008 24 16 provides n/a photograph by each digital file venue Yoshitaka Half Moon Glazed Iga ware locked 1 7 2012 1 1/4 8 3/4 -
Journey. One Thousand Years. the Six Ancient Kilns the Intersection of Fire and Humanity, Soil and Humanity, Water and Humanity
Journey. One thousand years. The Six Ancient Kilns the intersection of fire and humanity, soil and humanity, water and humanity – First Issue: “Getting to know The Six Ancient Kilns” “Learning about The Six Ancient Kilns” Journey. One thousand years. The Six Ancient Kilns the intersection of fire and humanity, soil and humanity, water and humanity The relationship between the Japanese and pottery dates back to the Jomon period (the earliest historical era of Japanese history coinciding with the Neolithic Period, from around 14500 BCE to around 300 BCE), when pottery was used for necessities such as preserving food, cooking, and rituals. Pottery not only helped build a civilization, it also exceeded conventional uses to enrich the culture of Japan in many ways. Of all the ancient pottery sites of Japan, the “Six Ancient Kilns”(pronounced nihon rokkoyo in Japanese) refers collectively to the six representative production areas of Echizen, Seto, Tokoname, Shigaraki, Tamba, and Bizen, whose pottery production has continued from the medieval period (1185- 1603) to the present day. The term “Six Ancient Kiln” was coined by renowned ceramics scholar, Koyama Fujio around 1948 and the sites were certified as each of the six areas has cultivated over the official Japanese Heritage sites in spring last 1000 years, and to inspire a vision of the 2017. future 1000 years from today based on these findings. To mark this occasion, the six cities created a Japanese Heritage Promotion Council * The 6 Pottery Production Areas whose objective was to revisit the technology Echizen ware: Echizen, Fukui and cultures that were born in each of these Seto ware: Seto, Aichi production areas over the last thousand Tokoname ware: Tokoname, Aichi years, and create an opportunity to delve into Shigaraki ware: Koka,Shiga the wonders of the Six Ancient Kilns from a Tamba ware: Tamba Sasayama, Hyogo newfound perspective. -
Wood-Fired Utilitarian Ware for Serving Japanese and American Food
Abstract Wood-Firing in America: Wood-Fired Utilitarian Ware for Serving Japanese and American Food by Yu Ishimaru July 2011 Director of Thesis: Jim Tisnado School of Art and Design In this body of work, my focus is on the surface and color of wood-fired ergonomic utilitarian ware. The natural-ash glazed surface and soft color changes from the atmospheric nature of wood firing are the principle aim of my firing. I intend for my wood fired work to be used on the table, in the kitchen, and around the home in both the United States and Japan on a daily basis. Food cultures between the United States and Japan are very different, and the ware used in both cultures is not the same, but similar. By approaching both food cultures from the similarities, I can be aware of the needs in the ware to be used in both food cultures. The surface and subtle color variation in my wood-fired work accompany the colors of both Japanese and American food presented at the table. Wood-fired work can be suitable for serving cross-cultural foods. WOOD-FIRING IN AMERICA: WOOD-FIRED UTILITARIAN WARE FOR SERVING JAPANESE AND AMERICAN FOOD A Report of a Creative Thesis Presented to The Faculty of the School of Art and Design East Carolina University In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in Ceramics by Yu Ishimaru July 2011 ©Yu Ishimaru, July 2011 WOOD-FIRING IN AMERICA: WOOD-FIRED UTILITARIAN WARE FOR SERVING JAPANESE AND AMERICAN FOOD by Yu Ishimaru APPROVED BY: DIRECTOR OF THESIS:______________________________________________________________________ -
Contemporary Japanese Ceramics from the Gordon Brodfuehrer Collection, on View at the Woodson Art Museum Through August 27
Clockwise from top left: Yukiya Izumita, Sekakai, 2010, unglazed stoneware, photo courtesy of Ken Kondo; Shigemasa Higashida, Taki (Waterfall) Lidded Vessel, 2012, glazed stoneware, photo coutesy of Katie Gardner; Joji Yamashita, Jar, 2010, unglazed stoneware, photo courtesy of Tim Siegert all from the Collection of Gordon Brodfuehrer Celebrate summer with visit a to Nature, Tradition & Innovation: Contemporary Japanese Ceramics from the Gordon Brodfuehrer Collection, on view at the Woodson Art Museum through August 27. Enjoy the beauty of the season through the eyes of some of Japan’s most celebrated artists whose reverence for the natural world inspires their ceramics. Learn more through public programs and the Art Museum’s free audio tour app or try your hand at ceramic techniques featured in the exhibition through a guest-artist workshop or summer art sessions for ages 5-8 and 9-12. Satoru Hoshino, First Snow of Spring Vase, 2009, hand-formed glazed stoneware, photo courtesy of Tim Siegert; from the Collection of Gordon Brodfuehrer The following education materials developed by exhibition co-curator Meher McArthur Exhibition Overview Featuring 43 exceptional Japanese ceramists, Nature, Tradition & Innovation showcases ceramic objects of unsurpassed beauty made for Shingo Takeuchi, Sake Flask and Sake Cups, 2009, stoneware with everyday use. The 55 ceramic works chosen are zogan-inlay technique, photo courtesy of Katie Gardner; from the Collection of Gordon Brodfuehrer closely associated with Japan’s historical pottery centers, and reinterpret traditional methods in a modern context. Eleven digital photographs taken by photographer Taijiro Ito highlight their poetic connection to nature. The exhibition provides a dynamic survey of the diverse and innovative practices of ceramic-making in Japan — from exquisite flower vases and serene tea bowls to whimsical candle holders and robust platters — revealing the earthly beauty of Japanese ceramics. -
Japanese Painters' Pottery and Paintings
Oranda Jin Japanese painters' pottery and paintings ORANDA JIN Japanese paintings & painters’ pottery Jon & Senne de Jong orandajin.com Voor mijn lief, voor Marleen Short introduction Marleen, my wife, Senne’s mother, started the looking at artists, most of them unknown in the In the art historical field, the history of Japanese on the island of Kyūshū, especially known in the ceramics branch of Oranda Jin. West, from a reversed perspective, we found some potteries and their produce somehow still seems a West for the blue and white porcelain that was so During one of our visits to Japan, she told me she of them amazingly good and interesting. matter for the specialist, which is a shame, because popular in the Netherlands of the seventeenth and would like to have something to do herself, instead Japan has a rich ceramic tradition: from the mag- eighteenth century. Kyōyaki or kyō ware comes from of following me hunting scrolls. This made her feel Most painters’ ceramics were produced for the tea nificent pots that were already made during the the city of Kyoto and includes a wide variety of over like a dog she said – what does that say about me? ceremony, for special occasions, or in commemora- Jōmon period (– BCE) up until Japanese glazed stoneware that dates back to the eighteenth In line with our regular specialisation, she decided to tion of events and persons. This is why they are so ceramic art today. And sometimes a very special century. Bizen ware belongs to the group of red and look for pottery decorated or made by painters. -
The Japanese
Kitchen and Tableware Vol. 7 - www.korin.com www.korin.com 1 TABLEWARE Dear Customer, 2–21 SIMPLE PORCELAIN WARE BOWLS Since opening Korin in 1982, I’ve seen an ever-increasing 22–23 Small & Custard Bowls 24 Rice Bowls interest in Japanese food and culinary traditions. From 25 Donburi Bowls traditional Japanese ingredients to handcrafted knives, 26–28 Bowls tableware and utensils, all are more popular in Western restaurants and American homes than ever before. I believe PLATES this trend will continue because we live in what has become 29 Small & Medium Plates 30 Yakimono Plates a borderless culinary scene, filled with people seeking new 31–33 Medium & Large Plates and exciting dining experiences. SAUCE POTS & DISHES This catalog offers professional and home chefs the best of both modern and 34–37 Sauce Dishes 38 Sauce Pots traditional Japanese tabletop and culinary tools. These beautiful and practical 39 Spice Containers items enhance the preparation and presentation of a world of cuisine. 40–47 MELAMINEWARE I chose the porcelain, ceramic, lacquer, wood, bamboo, cast iron and glassware from CHOPSTICKS & SPOONS throughout Japan, as each region has its own specialty and tradition of artisan 48–49 Chopsticks & Accessories craftsmanship. Many of these items have been used in Japan for centuries – the 50 Spoons fact that they remain in use in modern kitchens is a testament to the beauty and functionality of their design. BEVERAGE AND SOUP SERVICE 51 Sake Glasses 52 Tokkuri & Sake Serving Vessels It is my hope that along with the inspiration and joy these products bring you, 53 Sake Cups the craftsman’s passion and spirit will create a deeper connection to Japan’s rich 54 Soup and Matcha Bowls culinary culture. -
2019 Cosmos Catalog.Indd
521 West 26th Street, New York, NY 10001 212 695 8035 / [email protected] onishigallery.com ASIA WEEK 2019 New York COVER IMAGE: ŌSUMI Yukie (1945-), Living National Treasure (2015) Silver Vase Zuiun (Auspicious Cloud), 2018; hammered silver with nunome zōgan (textile imprint inlay) decoration in lead and gold; h. 8 7/8 x w. 18 1/8 x d. 9 7/8 in. (22.5 x 46 x 25 cm) The Cosmos Within: Contemporary Japanese Metalwork and Ceramics In celebration of Asia Week New York 2019 and its 10-year anniversary as a leader of Japanese arts in the international art market of New York City, Onishi Gallery is proud to present a unique new exhibition to Western audiences: The Cosmos Within: Contemporary Japanese Metalwork and Ceramics. In this collection of contemporary Japanese kōgei arts (a class of artistic creations produced in close association with the needs and conditions of everyday life), Onishi Gallery demonstrates the vast cosmos and intimate nature that may be communicated through a delicate work of art. While European arts often express the wonders of the universe through dynamic artistry, Japanese kōgei artists use subtle techniques to represent the cosmos within—imagine the world that unfolds when one looks through the small lens of a kaleidoscope. Bringing numerous leading metalwork and ceramic artists from the Japanese contemporary art scene, Onishi Gallery works with both renowned and emerging talents to introduce their work to American audiences, connect them with museum collections, and enable American arts and cultural institutions to discover and partner with these international talents. -
Inuit Ceramics Tech: Rapid Bisque Firing Clay Culture: Sonoma Ash Project “I’D Rather Switch Than Fight.”
Cover: A. Blair Clemo Review: Inuit Ceramics Tech: Rapid Bisque Firing Clay Culture: Sonoma Ash Project “I’d rather switch than fight.” Find out why experienced potters are switching to L&L rather than fighting with their kilns. L&L Kiln’s patented hard ceramic element holders protect your kiln. hotkilns.com/why KILNS BUILT TO LAST 505 Sharptown Road • Swedesboro, NJ 08085 Phone: 800-750-8350 • Fax: 856.294.0070 Email: [email protected] • Web: hotkilns.com Bailey Kilns at Lillstreet Art Center The Lillstreet Art Center is the premiere ceramic center in Chicago. They support the ceramic arts through many avenues: an artist residen- cy program, gallery, studio space, education, and outreach program. After 28 years, they moved into a new state-of-the-art facility in 2003. It’s spacious and serves as the perfect environment to inspire. In their new facility, they selected Bailey Kilns to meet the rigorous firing demands of their active program that serves 500 students per term. Their kiln room houses two Bailey 2-Car Trackless PRO 54 cu.ft. kilns. Each kiln has been fired over 1200 times! The 2-Car track- less design gives their program great flexibility in their firing requirements. Because they chose the 2-car design, they are firing one load while the next is being prepared on the mobile trackless car. As soon as the fired load is cool, out it comes and in goes the next load. Seamless efficiency. Beyond stacking and cycling efficiency, there is the maximum fuel efficiency. Lillstreet appreciates all the savings in fuel. -
A Modern Approach to Tradition 9
Part 1 A MODERN APPROACH TO TRADITION 9 Design sources Introduction Today’s makers and designers draw on a rich history of pottery and industrial design for ideas, and there is greater awareness today of the different design traditions. One of the aims of this book is to bring together a number of different strands which have influenced contemporary tableware design. 1Handmade tableware of art. The resulting pots are often too expensive to use and During the Sung dynasty (AD 960–1279), the Chinese In the 19th century, at the end of the Industrial end up sitting on a shelf, while the humble handmade mug were the first to make durable, mass-produced porcelain Revolution, John Ruskin and William Morris criticised or bowl continues to be used every day. This book aims to tableware and by the 16th century were exporting it industrially produced wares and inspired the Arts and showcase the work of those potters who are committed to around the world. The Japanese adapted pottery-making Crafts movement. They proposed a return to hand-crafted making tableware. techniques from China and Korea and added their decorative arts, which should be both beautiful and own unique character from the 16th century onwards. useful. The concept of the handmade object being made Changing habits Meanwhile in post-medieval Europe, a rustic style available to all was raised again in the 20th century by Naturally, changing attitudes and habits in food of country pottery was evolving, which ended with potter Bernard Leach, who established the studio pottery preparation and service and the rituals of mealtimes the Industrial Revolution.