Sayre Ch14 Icraft As

The Crafts as Fine Arts Josiah Wedgwood. Apotheosis of Homer vase. 1786. Blue Jasperware. height 18 in. Courtesy of the Wedgwood Museum Trust Limited, Barlaston, Staffordshire, England. [Fig. 14-1] The Crafts as Fine Arts Craft Media: Ceramics Glass Fiber Metal Wood These media have been traditionally been distinguished from the Fine Arts because they are usually used to make functional objects. They Josiah Wedgwood. Apotheosis of should be appreciated as works of Homer vase. 1786. Blue Jasperware. height 18 in. Courtesy of the Wedgwood Museum art in their own right. Trust Limited, Barlaston, Staffordshire, England. [Fig. 14-1] Ceramics Wedgwood Queen’s Ware kitchenware. c. 1850. Courtesy of the Wedgwood Museum Trust Limited, Barlaston, Staffordshire, England. [Fig. 14-2] Ceramics are objects that are formed out of clay and then hardened by firing in a very hot oven called a kiln. Ceramic objects can be formed in a few different ways: slab construction, coiling, and throwing on a potter’s wheel. Earthenware: porous clay fired at low temperature Stoneware: impermeable to water, fired at high temperature Porcelain: smooth texture clay, fired at highest temperature, translucent appearance Euthymides. Dancing revelers, found in a tomb at Vulci. c. 510–500 BCE. made in Athens. height approximately 24 in. Museum Antiker Kleinkunst, Munich. Staatliche Antikensammlungen und Glyptothek, Munich, Germany. [Fig. 14-3] Hon’ami Koetsu. Tea Bowl Named Amagumo. Momoyama or early Edo period, early 17th century. 3-1/2 × 4-9/10 in. Mitsui Bunko Museum, Tokyo. [Fig. 14-4] Peter Voulkos. X-Neck. 1990. Woodfired stoneware stack. height 34-1/2 in.; diameter 21 in. Private Collection. Photo: Schopplein Studio, Berkeley. © 1997 Peter Voulkos. [Fig. 14-5] Maria Montoya Martinez. Jar, San Ildefonso Pueblo, New Mexico. c. 1939. Blackware. 11-1/8 × 13 in. The National Museum of Women in the Arts, Washington, DC. Gift of Wallace and Wilhelmina Holladay. [Fig. 14-6] Pottery wheel-throwing, from Craft and Art of Clay. Courtesy of Laurence King Publishing Ltd. [Fig. 14-7] Rose Cabat. Onion Feelie. n.d. Ceramic. height: 8-1/4 in.; diameter 5-1/8 in. Collection of the Arizona State University Art Museum. Gift of the Mulcahy Foundation, Tucson. 1988.025.000. Arizona State University Art Museum. [Fig. 14-8] Kraakporselein. Plate, Ming Dynasty, late 16th– early 17th century. probably from the Ching-te Chen kilns. Porcelain, painted in underglaze blue. diameter 14-1/4 in. The Metropolitan Museum of Art,Rogers Fund, 1916 (16.13). The Metropolitan Museum of Art, New York, NY, U.S.A. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY. [Fig. 14-9] Betty Woodman. Floral Vase and Shadow. 1983. Glazed ceramic. Courtesy of Max Protetch. [Fig. 14-10] Joyce Kozloff. Plaza Las Fuentes, Pasadena, California. 1990. Glazed ceramic tiles; sculpture, Michael Lucero; landscape architect, Lawrence Halprin. Landscape architect: Lawrence Halprin; Architects: Moore, Ruble, Yudell; Developers: Maguire Thomas Partners; Sculpture: Michael Lucero. Photo: Tom VineTz. DC Moore Gallery, New York. [Fig. 14-11] Judy Chicago. The Dinner Party. 1979. Mixed media. 48 × 48 × 48 ft. installed. © 2012 Judy Chicago/Artists Rights Society (ARS), New York. Collection of The Brooklyn Museum of Art, Gift of the Elizabeth A. Sackler Foundation. Photograph © Donald Woodman. [Fig. 14-12] Judy Chicago. The Dinner Party (Artemisia Gentileschi place setting). 1979. Mixed media: ceramic, porcelain, textile. © 2012 Judy Chicago/Artists Rights Society (ARS), New York. Brooklyn Museum, Gift of the Elizabeth A. Sackler Foundation, 2002.10. Photograph by Jook Leung Photography. [Fig. 14-13] Julie Green. The Last Supper. 2000-ongoing. Installation view of 357 plates in the 2009 exhibition Counter Intelligence. various sizes. Courtesy of the artist. [Fig. 14-14] Julie Green. The Last Supper, Georgia, 26 June 2007. 2000-ongoing. Porcelain. various sizes. Courtesy of the artist. [Fig. 14-15a] Julie Green. The Last Supper, Texas, 22 January 2009. 2000-ongoing. Porcelain. various sizes. Photos courtesy of the artist. [Fig. 14-15b] Julie Green. The Last Supper, Indiana, 5 May 2007. 2000-ongoing. Porcelain. various sizes. Photos courtesy of the artist. [Fig. 14-15c] Glass Mosaic glass bowl. 25 BCE–50 CE. fused and slumped, Roman. height 4-1/2 in. V&A Images, London / Art Resource, NY. [Fig. 14-16] Moses window, Abbey Church of Saint-Denis, Saint-Denis, France. 1140–44. © Achim Bednorz, Koln. [Fig. 14-17] Dale Chihuly. Rotunda Chandelier (Victoria and Albert Chandelier). 1999. Glass. 27 × 12 × 12 ft. Victoria & Albert Museum, London / Art Resource, NY,. Courtesy Marlborough Gallery for artist. [Fig. 14-18] Around the first century BCE, glassblowing techniques were developed, turning glass into a major industry. In this process, the glassblower dips the end of a pipe into molten glass and then blows through the pipe to produce a bubble, which is then shaped and cut. Chihuly makes his contemporary work in the same way. Fred Wilson. Drip Drop Plop. 2001. Glass. approximately 99 × 72 × 62 in. Photograph by Ellen Labenski, Courtesy The Pace Gallery, New York. © Fred Wilson, courtesy The Pace Gallery. [Fig. 14-19] Fiber Arts The Hunt of the Unicorn, VII: The Unicorn in Captivity. Franco-Flemish, 16th century, c. 1500. Silk and wool, silver and silver-gilt threads. 12 ft. 1 in. × 8 ft. 3 in. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY. The Metropolitan Museum of Art, New York, NY, U.S.A., Gift of John D. Rockefeller, Jr., 1937 (37.80.6). [Fig. 14-20] Weaving is a technique for constructing fabrics in which vertical threads (the warp) are interlaced with horizontal threads (the weft, or woof). The warp threads are held tightly on a frame, and the weft threads are continuously pulled above and below Embroidered rumal. late 18th century. Muslin and colored silks. V & A Images/Victoria and Albert Museum. [Fig. 14-21] Nicholas Carroll Estate Inventory, MS 2634. c. 1812. Manuscripts Division, Maryland Historical Society Library, The Maryland Historical Society, Baltimore, Maryland. [Fig. 14-22] Anni Albers. Wall Hanging. 1926. Silk (two-ply weave). 72 × 48 in. © 2012 The Josef and Annie Albers Foundation/Artists Rights Society (ARS), New York. Courtesy of the Busch-Reisinger Museum, Harvard University Art Museums, Association Fund. Photograph by Michael Nedzweski © President and Fellows of Harvard College, Harvard University. BR48.132. [Fig. 14-25] Quilt making: the process of sewing of two or more layers of fabric together to make a thicker padded material, usually to create a quilt or quilted garment. Jessie T. Pettway. Bars and String-Pieced Columns. 1950s. Cotton. 95 × 76 in. Photo: Steve Pitking/Pitking Studios. © 2003. Provided by Tinwood Alliance Collection, Atlanta (www.tinwoodmedia.com). [Fig. 14-26] Faith Ringgold. Tar Beach (Part I from the Woman on a Bridge series). 1988. Acrylic on canvas bordered with printed, painted, quilted, and pieced cloth. 74-5/8 × 68-1/2 in. © 1988. Collection: The Solomon R. Guggenheim Museum, New York. [Fig. 14-27] Clay Lohmann. Black Lung. 2011. Cotton cloth, thread, silk batting, inflatable lung, buttons, tubing, safety pins. 90 × 80 in. Courtesy of the artist. [Fig. 14-28] Marilyn Lanfear. Aunt Billie, from the triptych Uncle Clarence’s Three Wives. 2007. Mother-of-pearl and bone buttons sewn to linen. 8 × 4-1/2 ft. Courtesy of the artist. [Fig. 14-29a] Marilyn Lanfear. Aunt Billie, from the triptych Uncle Clarence’s Three Wives, detail. 2007. Mother-of-pearl and bone buttons sewn to linen. 8 × 4-1/2 ft. Courtesy of the artist. [Fig. 14-29b] Joana Vasconcelos. Contamination. 2008–2010. Hand-knitted and crocheted elements, applications in felt, industrial mesh, fabric, ornaments, polystyrene, polyester, steel cables, dimensions variable. Atelier Joana Vasconcelos. Courtesy Galerie Nathalie Obadia. [Fig. 14-30] Magdalena Abakanowicz. Backs in Landscape. 1978–81. Eighty sculptures of burlap and resin molded from plaster casts. over-life-size. Photo: Dirk Bakker, 1982. © Magdalena Abakanowicz, courtesy Marlborough Gallery, New York. [Fig. 14-31] Yinka Shonibare. Victorian Couple. 1999. Wax-printed cotton textile. left approximately 60 × 36 × 36 in; right approximately 60 × 24 × 24 in. Courtesy of the artist, Stephen Friedman Gallery, London, and James Cohan Gallery, New York. [Fig. 14-32] Metal Tutankhamun Hunting Ostriches from His Chariot, base of the king’s ostrich-feather fan. 1335–1327 BCE. Beaten gold. 4 × 7-1/4 in. Erich Lessing/Art Resource, NY. [Fig. 14-33] Perhaps the most durable of all craft media is metal. Of all metals, gold is the easiest to work. It is relatively soft, occurs in an almost pure state, and consequently, has, since ancient times, been linked with royalty. Benvenuto Cellini. Saliera (saltcellar), Neptune (sea) and Tellus (earth). 1540–43. Gold, niello work, and ebony base. height 10-1/4 in. Kunsthistorisches Museum, Vienna, Austria. [Fig. 14-35] Griffin bracelet, from the Oxus treasure. c. 500–400 BCE. Gold and stones. diameter 5 in. British Museum, London, UK. The Bridgeman Art Library. [Fig. 14-34] Susan Ewing. Inner Circle Teapot. 1991. 925 silver, 24K vermeil. 9-3/4 × 10-1/4 × 8-1/2 in. Courtesy of the Artist. Photo: Carl Potteiger. [Fig. 14-36] Nathan Dube. S.P.I.T. (Saliva and Paper Instigating Trauma). 2005. Precious metals. dimensions of case 2-3/4 × 4-1/4 in. Courtesy of the Artist. [Fig. 14-37] Wood Heiltsuk. Bent-Corner Chest (Kook). c. 1860. Yellow and red cedar, and paint. 21-1/4 × 35-3/4 × 20-1/2 in. The Seattle Art Museum, Gift of John H. Hauberg and John and Grace Putnam. Photo by Paul Macapia. [Fig. 14-38] Attributed to Thomas Dennis or William Searle. Chest. made in Ipswich, Massachusetts, 1660–1680. Red oak, white oak. 29-3/4 × 49-1/8 × 21-3/8 in.

Load more