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Ten Years of Pottery in New Zealand
10 YEARS OF POTTERY IN NEW ZEALANDW CANCELLED Hamilton City Libraries 10 YEARS OF POTTERY IN NEW ZEALAND Helen Mason This is the story of the growth of the I making is satisfying because it combines pottery movement in this country and the learning of skills with the handling of of the people mainly involved in it over such elemental materials as clay and the past ten years as seen through my fire, so that once involved there is no | eyes as Editor of the New Zealand end to it. In it the individual looking for Potter magazine. a form of personal expression can find fulfillment, but it also lends itself to Interest in pottery making has been a group activity and is something construc- the post war development in most of tive to do together. civilised world, and by the time it reach- ed us was no longer a craft revival but I believe that with all this pottery rather a social phenomenon. Neverthe— activity, stemming as it does from the less there has been a large element of lives of ordinary men and women, a missionary zeal in our endeavours. seedbed has been formed out of which something real and vital is beginning to We are a young nation with enough grow. I have tried to record the history leisure, education and material security of these last ten years for I feel that to start looking for a culture of our own, they are important in the understanding and we want more human values than of what is to come. -
The Haptic Dimension of Ceramic Practice: Ways of Knowing
School of Media, Creative Arts and Social Inquiry The Haptic Dimension of Ceramic Practice: Ways of Knowing Alana Carol McVeigh This thesis is presented for the Degree of Doctor of Philosophy of Curtin University October 2020 i ii The Haptic Dimension of Ceramic Practice: Ways of Knowing Declaration Alana Carol McVeigh iii Acknowledgements My heartfelt thanks to my supervisors, Dr Ann Schilo, Dr Anna Nazzari and Dr Susanna Castleden for their generosity of knowledge, immeasurable support, encouragement and guidance. I would like to acknowledge my colleagues for their support and friendship. In particular I would like to thank Dr Monika Lukowska- Appel not only for her support but also her design knowledge. I acknowledge Dr Dean Chan for his detailed attention to copyediting. I gratefully acknowledge my family Damien, Regan, Ashlea and Maiko for your understanding and support. Most importantly, to Chaz for your unrelenting encouragement, belief, love and for teaching me of courage. Finally, this journey has been for, Bailey, Kyuss, Tiida, Jai, Lumos and Otoko No Akachan. iv The Haptic Dimension of Ceramic Practice: Ways of Knowing Abstract My research seeks to unravel how an influx of multiple streams of tacit knowledge and sensory awareness has impacted upon an Australian approach to ceramic art making. Through a combination of creative practice and exegesis, I consider how experiential knowledge, amassed over time by observing, replicating and doing, built a visual, cognitive and sensual vocabulary that has become embodied into a visceral form of making: a form of making and awareness that entered Australian ceramic studio practice from China, Japan, Korea and Britain primarily during the 1940s–1960s. -
Michael Cardew – (1901-1983)
MICHAEL CARDEW – (1901-1983) The names of Michael Cardew and Bernard Leach are almost invariably linked. Cardew was Leach‟s “first and best student”1 and Cardew stated that his three years at St. Ives were “the most important part of my education as a potter.”2 Yet the two men were very different, both personally and artistically, and Cardew‟s legacy to the world of ceramic art stands firmly on its own. Among the highlights of his long career are his establishment of potteries in England which revitalized the English slipware tradition, and the parallel establishment of potteries in Africa where he introduced the methods of Leach and in return brought to the western world the traditions of African pottery. He is also noted as a gifted teacher, one who led by example rather than formal instruction, and whose total and passionate involvement with pottery left a lasting impression on his students and apprentices. Cardew authored a number of articles, and his Pioneer Pottery, a classic in the field, is still being reprinted. 1. Bernard Leach. “Introduction.” Michael Cardew: A Collection of Essays. London: Crafts Advisory Committee, 1976. 2. Michael Cardew. A Pioneer Potter: an Autobiography. London: Collins, 1988 ARTIST’S STATEMENT - MICHAEL CARDEW “If you are lucky, and if you live long enough, and if you trust your materials and you trust your instincts, you will see things of beauty growing up in front of you, without you having anything to do with it.”1 “ You see, nobody can teach anybody anything, you must teach yourself. You just keep trying and repeating a shape and then you begin to feel confident…yes, yes, I can do this. -
The Ceramics of KK Broni, a Ghanaian Protégé of Michael
Review of Arts and Humanities June 2020, Vol. 9, No. 1, pp. 13-24 ISSN: 2334-2927 (Print), 2334-2935 (Online) Copyright © The Author(s). All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/rah.v9n1a3 URL: https://doi.org/10.15640/rah.v9n1a3 Bridging Worlds in Clay: The Ceramics of K. K. Broni, A Ghanaian protégé of Michael Cardew And Peter Voulkos Kofi Adjei1 Keaton Wynn2 kąrî'kạchä seid’ou1 Abstract Kingsley Kofi Broni was a renowned ceramist with extensive exposure and experience in studio art practice. He was one of the most experienced and influential figures in ceramic studio art in Africa. Broni was trained by the famous Michael Cardew at Abuja, Nigeria, Peter Voulkos in the United States, and David Leach, the son of Bernard Leach, in England. Broni had the experience of meeting Bernard Leach while in England and attended exhibitions of Modern ceramists such as Hans Coper. His extensive education, talent, and hard work, coupled with his diverse cultural exposure, make him one of Africa‘s most accomplished ceramists of the postcolonial era. He is credited with numerous national and international awards. He taught for 28 years in the premiere College of Art in Ghana, at the Kwame Nkrumah University of Science and Technology (KNUST), Kumasi. Broni has had an extensive exhibition record and has a large body of work in his private collection. This study seeks to unearth and document the contribution of the artist Kingsley Kofi Broni and position him within the broader development of ceramic studio art in Ghana, revealing the significance of his work within the history of Modern ceramics internationally. -
New Zealand Potter Volume 2 Number 2 December 1959
NEW ZEALAND POTTER This issue is published at Wellington by the Editorial Committee of the New Zealand Potter: Doreen Blumhardt, layout and drawings; Terry Barrow, Lee Thomson, advertising; Helen Mason, editor, 29 Everest Street, Khandallah, Wellington. Extra copies may be obtained from the Editor, cost two shillings and Sixpence, Volume Two Number Two December 1959 What stage have we New Zealanders reached with our pottery ? Let's look at the facts. Most of us have got wherever we are by trial and error, not training. There are very few properly trained teachers of the craft, very few professional potters. 4‘ A The rest of us are amateurs who can therefore afford to experiment, but who, according to our critics, have not yet learned to think for ourselves. Available without Charge CONDITION OF LOAN On the credit side we have unbounded enthusiasm and A fine of 2/6 is payable if this a camraderie, as evidenced by the small Napier book is not returned or renewed by the latest date shown on Group, which was able to take the New Zealand Transaction Card. A fine of Exhibition, cope with the tremendous amount of work (id is payable if the Trans- action Card is missing from entailed, and run it successfully. We also have a this pocket. keen market for our pots -= so much so that it can be a TO RENEW—— temptation to lower our standards. But biggest Ring 60—545 (not week—ends) and ask for “Renewals.” asset of all is our own country in which we can find everything we need; not only for raw materials but THE SOUVENIR in New Zealanilivgsthe for inspiration. -
2011 Gallery Catalogue
A SELLING EXHIBITION OF EARLY TWENTIETH CENTURY SLIPWARES Long Room Gallery Winchcombe 12th to 26th November 2011 JOHN EDGELER & ROGER LITTLE PRESENT A SELLING EXHIBITION OF EARLY TWENTIETH CENTURY SLIPWARES FROM THE WINCHCOMBE AND ST IVES POTTERIES 12th to 26th November 2011, 9.30am to 5.00pm Monday to Saturday (from midday on first day) Long Room Gallery, Queen Anne House, High Street, Winchcombe, Gloucestershire, GL54 5LJ Telephone: 01242 602319 Website: www.cotswoldsliving.co.uk Show terms and conditions Condition: Due to their low fired nature, slipwares are prone to chipping and flaking, and all the pots for sale were originally wood fired in traditional bottle or round kilns, with all the faults and delightful imperfections entailed. We have endeavoured to be as accurate as possible in our descriptions, and comment is made on condition where this is materially more than the normal wear and tear of 80 to 100 years. For the avoidance of any doubt, purchasers are recommended to inspect pots in person. Payment: Payment must be made in full on purchase, and pots will normally be available for collection at the close of the show, in this case on Saturday 26th November 2010. Settlement may be made in cash or by cheque, lthough a clearance period of five working days is required in the latter case. Overseas buyers are recommended to use PayPal as a medium, for the avoidance of credit card charges. Postal delivery: we are unable to provide insured delivery for overseas purchasers, although there are a number of shipping firms that buyers may choose to commission. -
THE LEACH POTTERY: ONE CENTURY Dates: 17Th
THE LEACH POTTERY: ONE CENTURY Dates: 17th Jan - 14th March 2020 Private View: Friday 17th Jan / 5-7pm Oxford Ceramics opens its 2020 season by celebrating the centenary of one of the most significant ceramic studios of the modern era: the Leach Pottery, founded in 1920. This pottery has shaped studio ceramics as we know it today, and is a cornerstone of ceramic history. It includes over 200 works sourced from across the globe from these masters of ceramics: Bernard Leach, Shoji Hamada, Michael Cardew, Kawai Kanjiro, and Tomimoto Kenkichi; as well as antique English slipware from as far back as the 18th century. This is a show that weaves together both influence and the finished article. There is something for the collector, ceramic enthusiasts and the plain curious. “As far back as one goes in time, the works of humanity from prehistoric times have reached us not through stone which crumbles and wears away, or through metal which oxidizes and becomes like powder, but through slabs of pottery, the writing on which is as clear today as it was under the stiletto of the scribe who traced it.” (Bernard Leach, A Potter's Book) James Fordham, the creative director of Oxford Ceramics, says, “This was always going to be a significant show for the gallery, as the Leach Pottery is one of the most respected and influential potteries in the world. I wanted to mark this anniversary with a show that explored not only the work of Leach & Hamada, but that looked deeper into the influences on their work.” Many great potters studied under Leach and many more were inspired by his written work, including A Potter’s Book, published in 1940. -
Michael Cardew, Studio Potter: Papers, 1903-2000
V&A Archive of Art and Design Michael Cardew, studio potter: papers, 1903-2000 Introduction and summary description Creator: Michael Cardew Reference: AAD/2006/2 Extent: 58 files Context Michael Cardew (1901-1983) was a pioneer of the studio pottery movement, and is widely credited as having revived the slipware tradition in England. He held a major international reputation and his work has been highly influential throughout the world. Cardew had a long and rich working life, which included lengthy spells in Africa in addition to the time spent running potteries in Gloucestershire and Cornwall, writing extensively and giving lectures and demonstrations at home and abroad. From 1923-1926 Michael Cardew worked at the St. Ives Pottery, leaving to set up his own pottery at Wincombe from 1926-1939. Cardew finally settled at Wenford Bridge Pottery and worked on and off here until his death on 11 February, 1983. His passion for pottery lead him to teach at Achimota College, Ghana from 1942-45, set up a pottery at Vume from 1946-48 and to be Pottery Officer in Abuja, Nigeria from 1950-1965, where he encouraged such potters as Ladi Kwali. In 1965 he was appointed MBE and in 1981 appointed CBE and chosen as selector and writer for the Crafts Council exhibition 'The Makers Eye'. He also received an honorary doctorate from the Royal College of Art in 1982. Michael Cardew's book, 'Pioneer Pottery' was published in 1969, a film of his life, 'Mud and Water Man' was released in 1973 and his autobiography, 'A Pioneer Potter' was published posthumously in 1988. -
Head, Heart and Hand: Studio Pottery in Nelson 1956-1976
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Head, Heart and Hand: Studio Pottery in Nelson 1956 – 1976 Vic Evans 2007 Head, Heart and Hand: Studio Pottery in Nelson 1956 – 1976 A thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in History at Massey University Vic Evans 2007 Abstract This thesis considers the growth of the studio pottery movement in New Zealand between 1956 and 1976. It uses Nelson as a case study to represent trends that took place across New Zealand. It seeks to explain the spectacular growth of interest in hand-made pottery and the surge in participation at both the amateur and professional level and the effects that this had on the movement. The people who were involved in the revival of studio pottery were, in general, relatively well-educated and prosperous individuals who had experienced changes that had taken place within the New Zealand education system from the late 1930s. Others had similar experiences overseas. In New Zealand they were also the beneficiaries of a relatively stable, highly protected and prosperous economy. Furthermore, New Zealand was subject to the same influences that impacted on individuals overseas – issues relating to work and play and the place of women in society. Overseas experts introduced the pioneers of the New Zealand movement to pottery traditions based on a confused blend of Anglo-Oriental craft philosophies. -
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 -
Influence of British Pottery on Pottery Practice in Nigeria
EJERS, European Journal of Engineering research and Science Vol. 4, No. 6, June 2019 Influence of British Pottery on Pottery Practice in Nigeria Edem E. Peters and Ruth M. Gadzama though after obtaining his degrees from Oxford went to Abstract—The pottery narratives of Nigeria majorly linked study Pottery under Bernard Leach (English) and Hamada a with the activities of a great British potter Michael Cardew Japanese expand at St. Ives. He spent greater part of active who Established pottery centres in Nigeria, and trained many years of his pottery practice in Nigeria from about 1950. His Nigerians in Pottery. Cardew studied under Bernard Leach twenty-three years Pottery experience at Abuja in Nigeria as (1887 – 1979) who travels extensively and taught pottery around the world.Leach studied pottery under Master Kenzan Pottery Officer brought about training numerous men and VI in Japan and returned to England in 1920 to establish his women on the British Pottery. Indigenous potters especially own pottery at St. Ives with Shoji Hamada. The impact in the women were encouraged and protected from pottery created by Cardew in Nigeria from 1950 is a direct exploitation. Pottery training centres were established and British Pottery influence imparted to him by leach at St. Ives. Potters’ raw materials were identified and sourced for local A British potter and artist, Kenneth C. Murray studied pottery use during Cardew stay in Nigeria. Nigeria had and still has under Bernard Leach at St. Ives in 1929 and returned back to Uyo in Nigeria to produce and teach students pottery. Murray very rich pottery tradition before Cardew came to start the produced pottery wares from the Kiln he built at Uyo and took pottery training centres. -
Bernard Leach
BERNARD LEACH hsgayg in Appreciofiiom CoiiectedF ané Edited by T. Barrow A Monograph published by the Editorial Committee of the N.Zi Potter Wellington New Zealand 1960 BERNARD LEACH READING — ST.IVES, 1957 CONTENTS Page List of Illustrations Terry Barrow Editorial Preface Bernard Leach An Open Letter to New O\ Zealand Potters The publication of this book was Bernard Leach Looking Backwards and made possible by the generosity of 10 the Hon. W. T. Anderton, Minister Forwards at 72 of Internal Affairs. Financial C. L. Bailey Bernard Leach in Perspective 16 support was also received by small donations and pre—publication Michael Cardew Bernard Leach — Recollections 19 payment of subscriptions. All Ray Chapman—Taylor A Few Lines on Bernard Leach 26 work in connection with the pro— duction of this book has been Kathe rine Pleydell — At St. Ives in the Early Years 29 voluntary, and any profits from Bouverie its sale will be used to subsidize Barry Brickell The Colonial Response to Leach 33 regular issues of the N. Z. Potter Bernard Leach A Note on Japanese Tea 37 or other monographs. Ceremony Wares Len Castle Photographs of the Leach 39 Mr. Wilf Wright has generously Pottery undertaken the task of distributing Murray Fieldhouse Workshop Visit - The Leach 41 the book. Copies may be obtained Pottery for ten shillings each by applying to Mr. Wright at Stockton's Ltd. , George Wingfieldu Bernard Leach — Bridge between Woodward Street, Wellington, N. Z. Digby East and We st Bernard Howell Leach Biographical Chronology 62 c 1960 by the Editorial Committee N. Z.