DOCSLIB.ORG

From Clay Depths to Interdisciplinary Heights by Todd Garner

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
From Clay Depths to Interdisciplinary Heights by Todd Garner April 1998 1 2 CERAMICS MONTHLY April 1998 Volume 46 Number 4 “3 Bottles” by Jason Hess at the Michael Sherrill teaching a Ferrin Gallery in Northampton, workshop at the Arrowmont Massachusetts. School of Arts and Crafts in 43 Gatlinburg, Tennessee. FEATURES 31 31 1998 Summer Workshops Opportunities in the U.S. and abroad for all skill levels 35 Monarch National Competition 120 works by artists from the U.S. and Canada 39 The Making of Giants by Elaine F. Godoivsky Workshop experience with Arnie Zimmerman 43 Introductions New or emerging artists at the Ferrin Gallery 44 Glasgow’s Miles Better An American in Scotland by Todd Garner 47 Minnesota Invitational Works by over 50 artists at the Northern Clay Center Tenement sculpture 48 From Clay Depths to Interdisciplinary Heights by Todd Garner. by P.A. Chatary Creating a tile mural illustrating aspects of the sciences 44 52 Friends and Inspirations Potters working outside the mainstream 5 5 Carol Townsend by Jeanne Raffer-Beck David Wright throwing Brushed and incised slips on handbuilt vessels salt into a recycled kiln. 58 Where You’ve Been Is Good and Gone; 67 All You Keep Is the Gettin’ Thereby Steven Hill Thoughts on process and growth 65 Blue Plate Specialby Jeff Huebner Not your usual dining experience The cover: Wood-fired 67 Recycle That Old Kilnby David G. Wright Handbuilt, slip-decorated earthenware pitcher by stoneware by Carol Townsend. Douglas Browe; see page 52. A surprising way to extend the life of your kiln Photo: Tom Liden. 55 April 1998 3 UP FRONT 12 Shoichi Ida Sculpture and works on paper at BraunsteinlQuay Gallery in San Francisco 12 Jerome Artists Exhibition Editor Ruth C. Butler Foundation-sponsored work at the Northern Clay Center in Minneapolis Associate EditorKim Nagorski 12 Juried Annual in Pennsylvania Assistant EditorConnie Belcher Multimedia exhibition at the Wayne Art Center Editorial AssistantElaine Jebsen 14 The Mind of the Dragon by Janet Buskirk Art DirectorRandy Wax A look into the inner workings of an anagama kiln 16 Kirk Mangus by Douglas Max Utter Production Specialist Robin Chukes Recent work at William Busta Gallery in Cleveland, Ohio Advertising ManagerSteve Hecker 18 Fiona Salazar Circulation AdministratorMary R. Hopkins Vessel sculpture at the Crafts Council Shop, Victoria and Albert Museum, LondonCirculation AdministratorMary E. May 18 Charles Johnson PublisherMark Mecklenborg Toylike sculpture at Galeria Mesa in Arizona 18 Jolyon Hofsted Editorial, Advertising and Circulation Offices Retrospectives of wall forms and sculpture 735 Ceramic Place 20 Tantalizing Teapots Post Office Box 6102 Kamm collection at the Craft and Folk Art Museum in Los Angeles Westerville, Ohio 43086-6102 20 Keisuke Mizuno Telephone: (614) 523-1660 Handbuilt porcelain sculpture at Shaw Guido Gallery in Pontiac, Michigan Fax: (614) 891-8960 20 Bill Griffith E-mail: [email protected] Wood-fired ceramics at the Sarratt Gallery at Vanderbilt in Nashville, Tennessee [email protected] 22 Steffanie Samuels [email protected] Figure sculpture at the Loveland Museum/Gallery in Loveland, Colorado [email protected] 22 Dong Hee Suh Website: www.ceramicsmonthly.org Abstract sculpture at West Virginia Wesleyan College in Buckhannon Ceramics Monthly (ISSN 0009-0328) is published monthly, 22 Opportunities Available Through the NEA except July and August, by The American Ceramic Society, 735 Deadlines for current programs Ceramic Place, Westerville, Ohio 43081. Periodicals postage 24 All Creatures Great and Small paid at Westerville, Ohio, and additional mailing offices. Animal sculpture at John Natsoulas Gallery in Davis, California Opinions expressed are those of the contributors and do not 24 Stephen Merritt necessarilyrepresent those of the editors or The American Pot added to the Museum of Fine Arts, Boston, permanent collection Ceramic Society. 24 Elizabeth Keller Subscription Rates: One year $26, two years $49, three years Sculpture and teapots at the Summer House Studios in Conway, South Carolina$70. Add $ 12 per year for subscriptions outside North America. 26 Tina Gebhart In Canada, add GST (registration number R123994618). Wood-fired functional ware at Baltimore Clayworks Change of Address: Please give us four weeks advance notice. 26 Etta Winigrad Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, PO Box 6102, Pit-fired sculpture at the Muse Gallery in Philadelphia Westerville, OH 43086-6102. 26 Sylvia Hyman Contributors: Writing and photographic guidelines are avail­ Trompe 1’oeil documents at Cumberland Gallery in Nashville, Tennessee able on request. Mail manuscripts and visual support (photo­ 26 Shellie Jacobson and Tim Rowan graphs, slides, transparencies, drawings, etc.) toCeramics Monthly, Dual pottery exhibition at the KlayGallery in Nyack, New York 735 Ceramic PL, PO Box 6102, Westerville, OH 43086-6102. We also accept unillustrated texts faxed to (614) 891-8960, or e-mailed to [email protected] Indexing: An index of each years feature articles appears in DEPARTMENTS the December issue. Feature articles are also indexed in the Art Index and daai (design and applied arts index), available 8 Letters through public and university libraries. 72 Call For Entries Copies and Reprints: Searchable databases and document 72 International Exhibitions delivery are available through Information Access Company, 72 United States Exhibitions 362 Lakeside Dr., Foster City, CA 94404; and through Univer­ 72 Regional Exhibitions sity Microfilms, 300 N. Zeeb Rd., Ann Arbor, MI 48106. 72 Fairs, Festivals and Sales Authorization to photocopy items for internal or personal 74 Suggestions use, or the internal or personal use of specific clients, is granted 78 Calendar by The American Ceramic Society, provided the base fee of 78 Conferences $5.00 per copy, plus $0.50 per page, is paid directly to the 80 Solo Exhibitions Copyright Clearance Center, 222 Rosewood Dr., Danvers, MA 80 Group Ceramics Exhibitions 01923. Prior to copying items for classroom use, please contact 84 Ceramics in Multimedia Exhibitions the Copyright Clearance Center, 222 Rosewood Dr., Danvers, 86 Fairs, Festivals and Sales MA 01923; (508) 750-8400. The code for users of the Trans­ 88 Workshops actional Reporting Service is 0009-0328/97 US$5.00 + $0.50. 94 International Events Back Issues: When available, back issues are $7 each, includes 96 Questions shipping and handling; $10 each outside North America. 109 Classified Advertising Postmaster: Send address changes toCeramics Monthly, PO Box 112 Comment: 6102, Westerville, OH 43086-6102. Form 3579 requested. My Favorite Cupby Holly Hanessian Copyright © 1998 The American Ceramic Society 112 Index to Advertisers All rights reserved 4 CERAMICS MONTHLY April 1998 5 I always read the letters first. And here we Virtue, Balance and Beauty Letters all are, just like a family, voices from all over The December 1997 issue of CM was one the world speaking to me, connected by our I found above average. However, the Febru­ Artists All work and lives as clay artists. The intellectual ary 1998 issue was a disappointment, as most Thank you, Derek Marshall, for your fine fathers and mothers speak of the rules, art of the daywork featured was too abstract and essay “I Am Not an Artisan” (February CM). and technology; the oldest sons and daugh­ weird for my taste. We are indeed all artists, good and bad. I am ters speak of the guidance and control and Thayer and Hart wrote to the Letters a potter and can still remember the admoni­ focus that the making of clay art gives to their department to comment on Mel Jacobson’s tion of my fourth-grade teacher, as the class lives; and the youngest children in the family story and work featured in December 1997 prepared to participate in an enormous speak of the inspiration they get from being CM. Although his past experiences were mural. “Helene, you’re not an artist, so you’ll part of the family. unusual and intriguing, his pottery is some­ do the 1-inch black border.” The word “art­ As I read your words, I feel connected to what drab and formless, similar to Warren ist” to describe myself didn’t enter my vo­ you all: the determined-to-make-a-living, the MacKenzie in style and color, appearing cabulary for many decades after that inspired-to-make-art, the focused-to-perfect- heavy without much grace, somewhat ama­ shattering moment. That I am one today your-lives. Makes one wonder what all those teurish. I don’t mean these comments in a tickles me to no end; it would be a hoot to people who don’t like to get their hands dirty critical way, just my observation. have my insensitive teacher take note as well. get out of life. I would like to request that CM publish Of course, she would have the prerogative of Mary Donahue, Tallahassee, Fla. an article with as many photographs as pos­ saying “good” or “bad.” sible of the work and background of clay Helene Benardo, Bronx, N.Y. Color Appreciated sculptor Thelma Frazier Winter. Her work This will be my 29th year as a subscriber with clay is imaginative and clever. In Defense of Pyrometers to Ceramics Monthly. It has been an invalu­ I would also like to see glaze recipes in the The response to the first question an­ able aid to me in the learning process of Cone 5-6 stoneware range, and sculpture swered by the CM technical staff in the becoming a potter. The increasing use of from the 1940s-70s. The horse shown on February issue is quite harsh as to thermo­ color has made it better than ever. I look page 66 of the February CM was the most couples and pyrometers. Pyrometers are very forward to each issue. creative piece, without going to the extreme accurate as long as they are used properly. Otto Pearsall\ New Castle, Pa.
Load more

Recommended publications
  • Copyright 2013 Shawn Patrick Gilmore
    Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way.
    [Show full text]
  • Bay-Area-Clay-Exhibi
    A Legacy of Social Consciousness Bay Area Clay Arts Benicia 991 Tyler Street, Suite 114 Benicia, CA 94510 Gallery Hours: Wednesday-Sunday, 12-5 pm 707.747.0131 artsbenicia.org October 14 - November 19, 2017 Bay Area Clay A Legacy of Social Consciousness Funding for Bay Area Clay - a Legacy of Social Consciousness is supported in part by an award from the National Endowment for the Arts, a federal agency. A Legacy of Social Consciousness I want to thank every artist in this exhibition for their help and support, and for the powerful art that they create and share with the world. I am most grateful to Richard Notkin for sharing his personal narrative and philosophical insight on the history of Clay and Social Consciousness. –Lisa Reinertson Thank you to the individual artists and to these organizations for the loan of artwork for this exhibition: The Artists’ Legacy Foundation/Licensed by VAGA, NY for the loan of Viola Frey’s work Dolby Chadwick Gallery and the Estate of Stephen De Staebler The Estate of Robert Arneson and Sandra Shannonhouse The exhibition and catalog for Bay Area Clay – A Legacy of Social Consciousness were created and produced by the following: Lisa Reinertson, Curator Arts Benicia Staff: Celeste Smeland, Executive Director Mary Shaw, Exhibitions and Programs Manager Peg Jackson, Administrative Coordinator and Graphics Designer Jean Purnell, Development Associate We are deeply grateful to the following individuals and organizations for their support of this exhibition. National Endowment for the Arts, a federal agency,
    [Show full text]
  • Smithsonian American Art Museum
    Smithsonian American Art Museum Chronological List of Past Exhibitions and Installations on View at the Smithsonian American Art Museum and its Renwick Gallery 1958-2016 ■ = EXHIBITION CATALOGUE OR CHECKLIST PUBLISHED R = RENWICK GALLERY INSTALLATION/EXHIBITION May 1921 xx1 American Portraits (WWI) ■ 2/23/58 - 3/16/58 x1 Paul Manship 7/24/64 - 8/13/64 1 Fourth All-Army Art Exhibition 7/25/64 - 8/13/64 2 Potomac Appalachian Trail Club 8/22/64 - 9/10/64 3 Sixth Biennial Creative Crafts Exhibition 9/20/64 - 10/8/64 4 Ancient Rock Paintings and Exhibitions 9/20/64 - 10/8/64 5 Capital Area Art Exhibition - Landscape Club 10/17/64 - 11/5/64 6 71st Annual Exhibition Society of Washington Artists 10/17/64 - 11/5/64 7 Wildlife Paintings of Basil Ede 11/14/64 - 12/3/64 8 Watercolors by “Pop” Hart 11/14/64 - 12/13/64 9 One Hundred Books from Finland 12/5/64 - 1/5/65 10 Vases from the Etruscan Cemetery at Cerveteri 12/13/64 - 1/3/65 11 27th Annual, American Art League 1/9/64 - 1/28/65 12 Operation Palette II - The Navy Today 2/9/65 - 2/22/65 13 Swedish Folk Art 2/28/65 - 3/21/65 14 The Dead Sea Scrolls of Japan 3/8/65 - 4/5/65 15 Danish Abstract Art 4/28/65 - 5/16/65 16 Medieval Frescoes from Yugoslavia ■ 5/28/65 - 7/5/65 17 Stuart Davis Memorial Exhibition 6/5/65 - 7/5/65 18 “Draw, Cut, Scratch, Etch -- Print!” 6/5/65 - 6/27/65 19 Mother and Child in Modern Art ■ 7/19/65 - 9/19/65 20 George Catlin’s Indian Gallery 7/24/65 - 8/15/65 21 Treasures from the Plantin-Moretus Museum Page 1 of 28 9/4/65 - 9/25/65 22 American Prints of the Sixties 9/11/65 - 1/17/65 23 The Preservation of Abu Simbel 10/14/65 - 11/14/65 24 Romanian (?) Tapestries ■ 12/2/65 - 1/9/66 25 Roots of Abstract Art in America 1910 - 1930 ■ 1/27/66 - 3/6/66 26 U.S.
    [Show full text]
  • Ahead of Their Time
    NUMBER 2 2013 Ahead of Their Time About this Issue In the modern era, it seems preposterous that jazz music was once National Council on the Arts Joan Shigekawa, Acting Chair considered controversial, that stream-of-consciousness was a questionable Miguel Campaneria literary technique, or that photography was initially dismissed as an art Bruce Carter Aaron Dworkin form. As tastes have evolved and cultural norms have broadened, surely JoAnn Falletta Lee Greenwood we’ve learned to recognize art—no matter how novel—when we see it. Deepa Gupta Paul W. Hodes Or have we? When the NEA first awarded grants for the creation of video Joan Israelite Maria Rosario Jackson games about art or as works of art, critical reaction was strong—why was Emil Kang the NEA supporting something that was entertainment, not art? Yet in the Charlotte Kessler María López De León past 50 years, the public has debated the legitimacy of street art, graphic David “Mas” Masumoto Irvin Mayfield, Jr. novels, hip-hop, and punk rock, all of which are now firmly established in Barbara Ernst Prey the cultural canon. For other, older mediums, such as television, it has Frank Price taken us years to recognize their true artistic potential. Ex-officio Sen. Tammy Baldwin (D-WI) In this issue of NEA Arts, we’ll talk to some of the pioneers of art Sen. Sheldon Whitehouse (D-RI) Rep. Betty McCollum (D-MN) forms that have struggled to find acceptance by the mainstream. We’ll Rep. Patrick J. Tiberi (R-OH) hear from Ian MacKaye, the father of Washington, DC’s early punk scene; Appointment by Congressional leadership of the remaining ex-officio Lady Pink, one of the first female graffiti artists to rise to prominence in members to the council is pending.
    [Show full text]
  • Art Spiegelman's Experiments in Pornography
    ORE Open Research Exeter TITLE Art Spiegelman’s ‘Little Signs of Passion’ and the Emergence of Hard-Core Pornographic Feature Film AUTHORS Williams, PG JOURNAL Textual Practice DEPOSITED IN ORE 20 August 2018 This version available at http://hdl.handle.net/10871/33778 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Art Spiegelman’s ‘Little Signs of Passion’ and the emergence of hard-core pornographic feature film Paul Williams In 1973 Bob Schneider and the underground comix1 creator Art Spiegelman compiled Whole Grains: A Book of Quotations. One of the aphorisms included in their book came from D. H. Lawrence: ‘What is pornography to one man is the laughter of genius to another’.2 Taking a cue from this I will explore how Spiegelman’s comic ‘Little Signs of Passion’ (1974) turned sexually explicit subject matter into an exuberant narratological experiment. This three-page text begins by juxtaposing romance comics against hard-core pornography,3 the former appearing predictable and artificial, the latter raw and shocking, but this initial contrast breaks down; rebutting the defenders of pornography who argued that it represented a welcome liberation from repressive sexual morality, ‘Little Signs of Passion’ reveals how hard-core filmmakers turned fellatio and the so-called money shot (a close-up of visible penile ejaculation) into standardised narrative conventions yielding lucrative returns at the box office.
    [Show full text]
  • Persistence-In-Clay.Pdf
    ond th0 classroom THE CERAMICS PROGRAM ATTHE UNIVERSITY OF MONTANA by H. RAFAEL CHACON ontana is known globally as a place for the Autio came to Missoula at the instigation of the Mstudy of modern ceramics, in no small part visionary President McFarland. In 1952, while because of the strengths of its academic institutions. shopping in Helena for bricks for his new campus Ceramics at the University of Montana is a model buildings, McFarland found Autio working at the academic program with an international reputation Archie Bray Foundation. Initially hired to design and a rich history. an architectural mural for the exterior of the new The arts have been a part of the University of Liberal Arts building, Autio eventually accepted Montana's curriculum since the establishment of McFarland's invitation to create a bona fide ceramics the state's flagship educational institution in 1895, program at the university. In fall 1957, Autio began with the first drawing course offered in 1896. Clay throwing, firing, and glazing pots and making first appeared in 1903 as a subject of instruction, sculptures in a retired World War II barracks building alongside the crafts of rug design, lettering, and later the warming hut of the university's Ice book covers, basket weaving, and metallurgy. In Skating Rink below Mt. Sentinel; these were not the 1926, after the retirement of long-time chairman best facilities, but a step up from the soda fountain Frederick D. Schwalm, the crafts were eliminated on the ground floor of the former Student Union from the curriculum only to be restored in 1948 building.
    [Show full text]
  • Chris Ware's Jimmy Corrigan
    Chris Ware’s Jimmy Corrigan Chris Ware’s Jimmy Corrigan : Honing the Hybridity of the Graphic Novel By DJ Dycus Chris Ware’s Jimmy Corrigan : Honing the Hybridity of the Graphic Novel, by DJ Dycus This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by DJ Dycus All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3527-7, ISBN (13): 978-1-4438-3527-5 For my girls: T, A, O, and M TABLE OF CONTENTS List of Figures............................................................................................. ix CHAPTER ONE .............................................................................................. 1 INTRODUCTION TO COMICS The Fundamental Nature of this Thing Called Comics What’s in a Name? Broad Overview of Comics’ Historical Development Brief Survey of Recent Criticism Conclusion CHAPTER TWO ........................................................................................... 33 COMICS ’ PLACE WITHIN THE ARTISTIC LANDSCAPE Introduction Comics’ Relationship to Literature The Relationship of Comics to Film Comics’ Relationship to the Visual Arts Conclusion CHAPTER THREE ........................................................................................ 73 CHRIS WARE AND JIMMY CORRIGAN : AN INTRODUCTION Introduction Chris Ware’s Background and Beginnings in Comics Cartooning versus Drawing The Tone of Chris Ware’s Work Symbolism in Jimmy Corrigan Ware’s Use of Color Chris Ware’s Visual Design Chris Ware’s Use of the Past The Pacing of Ware’s Comics Conclusion viii Table of Contents CHAPTER FOUR .......................................................................................
    [Show full text]
  • Fiberartoral00lakyrich.Pdf
    University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Gyongy Laky FIBER ART: VISUAL THINKING AND THE INTELLIGENT HAND With an Introduction by Kenneth R. Trapp Interviews Conducted by Harriet Nathan in 1998-1999 Copyright 2003 by The Regents of the University of California has been Since 1954 the Regional Oral History Office interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Gyongy Laky, dated October 21, 1999. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • Bennett Bean Playing by His Rules by Karen S
    March 1998 1 2 CERAMICS MONTHLY March 1998 Volume 46 Number 3 Wheel-thrown stoneware forms by Toshiko Takaezu at the American Craft FEATURES Inlaid-slip-decorated Museum in vessel by Eileen New York City. 37 Form and Energy Goldenberg. 37 The Work of Toshiko Takaezu by Tony Dubis Merino 75 39 George Wright Oregon Potters’ Friend and Inventor Extraordinaire by Janet Buskirk 43 Bennett Bean Playing by His Rules by Karen S. Chambers with Making a Bean Pot 47 The Perfect Clay Body? by JejfZamek A guide to formulating clay bodies 49 A Conversation with Phil and Terri Mayhew by Ann Wells Cone 16 functional porcelain Intellectually driven work by William Parry. 54 Collecting Maniaby Thomas G. Turnquist A personal look at the joy pots can bring 63 57 Ordering Chaos by Dannon Rhudy Innovative handbuilding with textured slabs with The Process "Hair of the Dog" clay 63 William Parry maker George Wright. The Medium Is Insistent by Richard Zakin 39 67 David Atamanchuk by Joel Perron Work by a Canadian artist grounded in Japanese style 70 Clayarters International by CarolJ. Ratliff Online discussion group shows marketing sawy 75 Inspirations by Eileen P. Goldenberg Basket built from textured Diverse sources spark creativity slabs by Dannon Rhudy. The cover: New Jersey 108 Suggestive Symbols by David Benge 57 artist Bennett Bean; see Eclectic images on slip-cast, press-molded sculpture page 43. March 1998 3 UP FRONT 12 The Senator Throws a Party by Nan Krutchkoff Dinnerware commissioned from Seattle ceramist Carol Gouthro 12 Billy Ray Hussey EditorRuth
    [Show full text]
  • Nmservis Nceca 2015
    nce lournal 'Volume37 lllllllIt { t t \ \ t lr tJ. I nceoqKAlt$[$ 5OthAnnual Conference of the NationalCouncilon C0'LECTURE:INNOVATIONS lN CALIFORNIACIAY NancyM. Servis and fohn Toki Introduction of urbanbuildings-first with architecturalterra cotta and then Manythink cerar.nichistory in theSan Francisco Bay Area with Art Decotile. beganin 1959with PeterVoulkos's appointrnent to theUniversi- California'sdiverse history served as the foundationfor ty of California-Berkeley;or with Funkartist, Robert Arneson, its unfolding cultural pluralisrn.Mexico claimed territory whosework at Universityof California-Davisredefined fine art throughlarge land grants given to retiredmilitary officersin rnores.Their transfonnative contributions stand, though the his- themid l9th century.Current cities and regions are namesakes tory requiresfurther inquiry. Califbr- of Spanishexplorers. Missionaries nia proffereda uniqueenvironr.nent arriving fronr Mexico broughtthe through geography,cultural influx, culture of adobe and Spanishtile and societalflair. cleatingopportu- with ther.n.Overland travelers rni- nity fbr experirnentationthat achieved gratedwest in pursuitof wealthand broadexpression in theceralnic arts. oppoltunity,including those warrtilrg Today,artistic clay use in Cali- to establishEuropean-style potteries. forniais extensive.lts modernhistory Workersfrorn China rnined and built beganwith the l9th centurydiscov- railroads,indicative of California's ery of largeclay deposits in the Cen- directconnection to PacificRirn cul- tral Valley, near Sacramento.This
    [Show full text]
  • From Rodin to Schütte
    ART AND CERAMICS FROM RODIN TO SCHÜTTE SÈVRES – CITÉ DE LA CÉRAMIQUE March 9 – June 12, 2016 LA MAISON ROUGE, PARIS March 9 – June 5, 2016 Art and ceramics – CERAMIX – From Rodin to Schütte Exhibition: March 9 – June 12, 2016 (Sèvres – Cité de la céramique), March 9 – June 5, 2016 (La maison rouge) Content p. 2 – 3 Foreword Camille Morineau and Lucia Pesapane p. 5 – 15 Exhibition sections Camille Morineau and Lucia Pesapane p. 16­ – 17 Information around the exhibition p. 18 – 30 Selected artworks p. 31 Visiting information p. 32 Partners p. 33 – 40 Appendix: Chronology Baimba Kamara Sèvres – Cité de la céramique La maison rouge Cultural development delegation Claudine Colin Communication Sylvie Perrin, head of communication and press relations Pénélope Ponchelet and Marine Le Bris tel. +33 (0)1 46 29 38 38 / cell.+33 (0)6 25 12 82 87 tel. + 33(0)1 42 72 60 01 [email protected] [email protected] ; [email protected] 2 CERAMIX ART AND CERAMICS FROM RODIN TO SCHÜTTE SÈVRES – CITÉ DE LA CÉRAMIQUE March 9 – June 12, 2016 LA MAISON ROUGE, PARIS March 9 – June 5, 2016 Preview: March 8, 2016 Press preview 9:15 a.m. to 11:15 a.m.: Sèvres – Cité de la céramique (8.45 a.m.: departure Palais Royal for Sèvres) 10:30 a.m. to 12:30 a.m.: La maison rouge (shuttle bus between Sèvres and Paris) Professionnal preview 17 p.m. to 21 p.m.: La maison rouge 18 p.m. to 23 p.m.: Sèvres – Cité de la céramique Cité de la Céramique in Sèvres, La maison rouge museum dedicated to ceramics from all over in Paris and the Bonnefantenmuseum in the world.
    [Show full text]
  • ABRAMS Returns to San Diego Comic-Con 2019 Booth #1216
    For Immediate Release Contact: Maya Bradford, Publicity Manager ABRAMS 212.229.7188 [email protected] ABRAMS Returns to San Diego Comic-Con 2019 Booth #1216 New York, NY; July 2019: ABRAMS returns to San Diego Comic-Con and will participate in nineteen panels, offer author signings in the Autograph Area, sell exciting Comic-Con exclusives and special signed books, and share sneak peeks of the fall 2019 list. There will be in-booth discounts on all books, galley giveaways, and new books for sale. In addition, Abrams will be revealing exclusive, new information on forthcoming 2020 titles at the Abrams ComicArts 10th Anniversary panel on Saturday, 7/20. A full announcement on these titles will be forthcoming after they are shared at the show. San Diego Comic-Con Exclusives: Avatar, The Last Airbender: The Rise of Kyoshi The epic saga from the world of Avatar: The Last Airbender begins! This exclusive edition of the new novel features a stunning variant cover and will be available only to Con attendees. Copies will be available for purchase at the Abrams booth and Autographing Area while supplies last. Magic: The Gathering: Rise of the Gatewatch - EARLY ON SALE! This giftable visual reference guide, sure to appeal to new and longtime Magic fans alike, is on sale July 23—advance copies will be available for purchase with a 25% discount while supplies last. Star Wars Art: Ralph McQuarrie 2020 collectible poster calendar This unique oversize calendar transforms into thirteen 16 x 20-inch art prints that can hang in any galaxy! Celebrate SDCC with an exclusive 14 x 11-inch bonus print (and 25% off) with purchase while supplies last.
    [Show full text]