Set the Stage ➋ Eminently Repairable Anyone Can Fix an L&L Kiln with a Screwdriver and a Also in This Issue
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Long Gallery Educator’S Pack This Pack Contains Information Regarding the Contents and Themes of the Objects in the Long Gallery
Long Gallery Educator’s Pack This pack contains information regarding the contents and themes of the objects in the Long Gallery. On our website you can find further activities and resources to explore. The first exhibition in this gallery, ’Reactions’ focuses on Dundee’s nationally important collection of studio ceramics. This pack explores some of the processes that have created the stunning pieces on display and shares some of the inspirations behind the creation of individual ceramics. Contents Reactions: Studio Ceramics from our Collection Introduction and Origins 01 Studio Pottery - Influences 02 The Process 03 Glossary 05 List of Objects - by theme What is Studio Pottery? 10 Influences 11 Ideas and Stories 14 What on Earth is Clay? 16 Getting your Hands Dirty 19 The Icing on the Cake - Glaze and Decoration 21 Fire 24 Artist Focus Stephen Bird 27 Reactions: Studio Ceramics from our collection Introduction- background and beginnings 'Studio Ceramics' or 'Studio Pottery' - can be best described as the making of clay forms by hand in a small studio rather than in a factory. Where the movement in the early days is referred to as 'Studio Pottery' due to its focus on functional vessels and 'pots', the name of 'Studio Ceramics' now refers broadly to include work by artists and designers that may be more conceptual or sculptural rather than functional. As an artistic movement Studio Ceramics has a peculiar history. It is a history that includes changes in artistic and public taste, developments in art historical terms and small and very individual stories of artists and potters. -
Grade by Grade Fine Arts Content Standards
Montgomery County Public Schools Pre-k–12 Visual Art Curriculum Framework Standard I: Students will demonstrate the ability to perceive, interpret, and respond to ideas, experiences, and the environment through visual art. Indicator 1: Identify and describe observed form By the end of the following grades, students will know and be able to do everything in the previous grade and the following content: Pre-K Kindergarten Grade 1 Grade 2 I.1.PK.a. I.1.K.a. I.1.1.a. I.1.2.a. Identify colors, lines, shapes, and Describe colors, lines, shapes, and Describe colors, lines, shapes, textures, Describe colors, lines, shapes, textures, textures that are found in the textures found in the environment. and forms found in observed objects forms, and space found in observed environment. and the environment. objects and the environment. I.1.K.b. I.1.1.b. I.1.2.b. I.1.PK.b. Represent observed form by combining Represent observed physical qualities Represent observed physical qualities Use colors, lines, shapes, and textures colors, lines, shapes, and textures. of people, animals, and objects in the of people, animals, and objects in the to communicate observed form. environment using color, line, shape, environment using color, line, shape, texture, and form. texture, form, and space. Clarifying Example: Clarifying Example: Clarifying Example: Clarifying Example: Given examples of lines, the student Take a walk around the school property. The student describes colors, lines, Given examples of assemblage, the identifies lines found in the trunk and Find and describe colors, lines, shapes, shapes, textures, and forms observed in a student describes colors, lines, shapes, branches of a tree. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Visual Arts Curriculum
August 2013 Ceramics I: Academic Grade Level 9, 10, 11, 12 Course Number 702 Subject Area Visual Arts Course Description This course introduces clay activities involving basic hand-building techniques, such as coil method, slab method, hollowing out and pinch method. Glazing techniques will be taught as well as techniques of clay preparation, storing of unfinished clay pieces and firing. Electric wheel throwing will be demonstrated. The final project will be of the students’ choosing and will involve a written description of the project to be accompanied with a research paper and presentation. Content Standards What aspects of the state standards does the course address? Standard 1. Students will demonstrate knowledge of the methods, materials, and techniques unique to visual arts. Standard 2. Students will demonstrate knowledge of the elements and principals design. Standard 3. Students will demonstrate their powers of observation, abstraction, invention, and expression in a variety of media, materials and techniques. Standard 4. Students will demonstrate knowledge of the processes of creating and exhibiting their own art work: drafts; critique; self -assessment; refinement; and exhibit preparation. Standard 5. Students will describe and analyze their own work and the work of others using appropriate visual arts vocabulary. When appropriate, students will connect their analysis to interpretation and evaluation. Standard 6. Students will describe the purposes for which works of dance, music, theater, visual arts, and architecture are created, and, when appropriate, interpret their meanings. Standard 7. Students will describe the roles of artists, patrons, cultural organizations, and art institutions in societies of the past and present. Standard 8. -
Ceramics Monthly Apr04 Cei04
editor Sherman Hall associate editor Tim Frederich assistant editor Renee Fairchild design Paula John production manager John Wilson production specialist David Houghton advertising manager Steve Hecker advertising assistant Debbie Plummer circulation manager Cleo Eddie publisher Marcus Bailey editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA telephone editorial: (614) 895-4213 advertising: (614) 794-5809 classifieds: (614) 895-4212 customer service: (614) 794-5890 fax (614) 891-8960 e-mail [email protected] [email protected] [email protected] [email protected] website www.ceramicsmonthly.org Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The Ameri can Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add GST (registration number R123994618). change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation De partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available on request. Send manuscripts and visual sup port (slides, transparencies, photographs, drawings, etc.) to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081. We also accept unillustrated texts e-mailed to [email protected] or faxed to (614) 891-8960. indexing: An index of each year's feature articles appears in the December issue. -
Formative Assessment in the Visual Arts
The Artful Learning Communities project is designed to help teachers assess student learning in art, including motivating students to self- and peer-assess. Formative Assessment in the Visual Arts HEIDI ANdrade, JoaNNA HEFFEREN, and MARIA PALma lassroom assessment is a hot topic in K-12 education because of compelling evidence that assessment in the form of feedback is a powerful teaching and learning tool (Hattie & Timperley, 2007). Although formal evaluation has been anathema to many art specialists and teachers (Colwell, 2004), informal assessment in the form of feedback is not. As educators in other subjects have discovered, there are myriad ways in which assessment can not only measure and document student C learning but also—and more importantly—actually promote learning (Andrade & Cizek, 2010). This article shares examples and briefly documents the work of art specialists in Brooklyn, New York, who have experimented with the latest assess- ment techniques in order to increase student engagement and learning. The Artful Learning Communities project Our first challenge was to convince our described in this article was supported by a grant collaborators, the arts specialists, of the value from the U.S. Department of Education. The goals of assessment in arts education. Early on, we of the project were to (1) strengthen the capacity were politely told that art cannot be assessed, and of elementary and middle school arts specialists furthermore, we should not assess children’s art to assess standards-based learning in the Arts; because so doing could threaten their self-esteem (2) promote increased student achievement in and diminish their motivation to engage in Detail from Figure 3. -
The Art of the Old English Potter, the Tygs, Which Well Deserve a Special Notice and a Few Words of Description
or The OLd&^^U5H ?6vrEK / THE ART OF THE OLD ENGLISH POTTER Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/artofoldenglishpOOsolorich THE ART OF THE OLD ENGLISH POTTER. BY. L M. SOLoC^cr-Cf NIVGRSITY ILLUSTRATED BY THE AUTHOR. NEW YORK: D. APPLETON AND COMPANY, I, 3, AND 5 BOND STREET. 1886. \^t>' tA^ ir ^ PREFACE. N the first edition of this work we thought it necessary to narrate at length how our curiosity and interest were, on our arrival in England, aroused by the discovery of two quaint pieces of Salt-glaze, seen one day on the window-sill of an old cottage in Staffordshire. How we devoted our leisure to the research of speci- mens of the various kinds of pottery made in the district, feeling, at every fresh find, our admiration increase for a ware which, to our astonishment, had so far escaped the notice of the Continental collectors, and how it was that we were drawn into sketching and etching some curious pieces of our collection for our own pleasure, and the gratification of some friends at a distance ; a labour which ultimately led to the publication of the present work. These con- 217006 ; VI PREFACE. ' sideratlons would have been here out of place the text, written principally to accompany and elucidate the etchings, has had to undergo some modification, as the examples with which we illustrate these pages are taken from various sources, instead of being selected from materials in our own possession ; consequently, all that merely referred to these special pieces had to make room for remarks of a more general application. -
Project Update & Public Art Proposal
To: Center City Development Corporation (CCDC) Board of Directors From: DMC Staff, Planning & Development Department Date: June 10, 2015 RE: South End Underpass Improvements: Project Update & Public Art Proposal ________________________________________________________________________ Background: In 2014, DMC staff and the Henry Turley Company presented a joint proposal to the CCDC to make improvements at two (2) railroad underpasses in the South End neighborhood. The underpasses along Florida Street and South Main Street are dark, dirty, unpleasant, and discourage walking and biking in the area. At its March 16, 2014 meeting, the CCDC approved the South End Underpass Improvement Project. Staff’s original request included $125,000 for the total project, with approximately $50,000 of the budget dedicated to public art. Ultimately, the Board authorized up to $80,000 for Phase I of the project and instructed staff to bring back a detailed plan and budget for public art at a future meeting. The scope of work in Phase I includes cleaning the concrete surfaces, removing the unused roadbed at Florida Street, adding lighting above the sidewalk at two (2) underpasses, and the fees associated with traffic control, contracting, and design. Included in the $80,000 is up to $5,000 to design and plan the public art. The Henry Turley Company agreed to provide development services as an in-kind contribution to the overall project. These services include analysis of existing conditions, project scoping and design, project management, outreach to relevant agencies, and securing any required approvals. Current Status of Project: Over the past year, the Henry Turley Company has been actively securing the required approvals while working to keep the project within budget. -
Staffordshire Pottery and Its History
Digitized by the Internet Archive in 2012 with funding from University of Toronto http://archive.org/details/staffordshirepotOOwedg STAFFORDSHIRE POTTERY AND ITS HISTORY STAFFORDSHIRE POTTERY AND ITS HISTORY By JOSIAH C. WEDGWOOD, M.P., C.C. Hon. Sec. of the William Salt Archaeological Society. LONDON SAMPSON LOW, MARSTON & CO. LTD. kon Si 710620 DEDICATED TO MY CONSTITUENTS, WHO DO THE WORK CONTENTS Chapter I. The Creation of the Potteries. II. A Peasant Industry. III. Elersand Art. IV. The Salt Glaze Potters. V. The Beginning of the Factory. VI. Wedgwood and Cream Colour. VII. The End of the Eighteenth Century. VIII. Spode and Blue Printing. IX. Methodism and the Capitalists. X. Steam Power and Strikes. XI. Minton Tiles and China. XII. Modern Men and Methods. vy PREFACE THIS account of the potting industry in North Staffordshire will be of interest chiefly to the people of North Stafford- shire. They and their fathers before them have grown up with, lived with, made and developed the English pottery trade. The pot-bank and the shard ruck are, to them, as familiar, and as full of old associations, as the cowshed to the countryman or the nets along the links to the fishing popula- tion. To them any history of the development of their industry will be welcome. But potting is such a specialized industry, so confined to and associated with North Stafford- shire, that it is possible to study very clearly in the case of this industry the cause of its localization, and its gradual change from a home to a factory business. -
The Functional Print Within the Print Market of the Late Fifteenth and Early Sixteenth Century in Northern Europe and Italy
THE FUNCTIONAL PRINT WITHIN THE PRINT MARKET OF THE LATE FIFTEENTH AND EARLY SIXTEENTH CENTURY IN NORTHERN EUROPE AND ITALY Lyndsay Bennion A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2006 Committee: Dr. Allison Terry, Advisor Dr. Andrew Hershberger © 2006 Lyndsay Bennion All Rights Reserved iii ABSTRACT Dr. Allison Terry, Advisor The focus of my thesis is the print market of the late fifteenth and early sixteenth century. This market was a byproduct of the trade-based economy of Venice and cities in Northern Europe. The multiplicity of prints allowed for their widespread circulation among these cities. Religious prints were the first type of print to be disseminated via the various trade routes. Such prints experienced an immense popularity due to the devotional climate of early Renaissance society. Most often, they were utilized by consumers as devotional tools. Yet as the print market grew, so too did the tastes of consumers. A new type emerged who viewed the print as an art object and used it accordingly; collecting it and storing it away within their private print cabinets. It is these two different functions of the print that I am most interested in exploring. My intent is to view the print as a functional object whose use changed depending on the type of consumer who purchased it. The differing functions of the print resulted in a segmentation of the market into a larger devotional market and a much smaller fine print market. -
On Antiques and Collectibles VOL
ON ANTIQUES AND COLLECTIBLES VOL. 37 NO. 1 THE NEWSLETTER FOR COLLECTORS, DEALERS AND INVESTORS SEPTEMBER 2010 A Christmas toy sold at a News recent James Julia auc- Scottish Agate Flash tion for $161,000. It be- comes the most expensive Victorian tin toy sold in the past 15 years and possibly the Jewelry most expensive toy of any type auctioned in the Dazzled by the stones in this agate past three years. The 18-inch-long toy—Santa in and citrine bracelet, a collector paid a sleigh pulled by goats—was originally sold in $2,726 for it at a Boston auction. the late 19th century by Althof, Bergmann & Co. We dangle more information about of New York. Victorian Scottish agate jewelry on Marble collectors are dealing with sad page 6. news. The Peltier Glass Co. of Ottowa, Ill., has closed after 124 years in business making mar- bles and other glassware. Only one other compa- ny in the United States, Marble King of Paden City, W.Va., still produces machine-made mar- Baby Dolls bles. Most of the world’s marbles are made in Mexico and Asia. For Collectors “I’m continuously shocked and surprised In the world of never-grow-up, this by how much prices are increasing,” says Ker- c.1925 German-made baby doll was ry Taylor, a textile consultant to Sotheby’s Lon- carried away from an Ohio auction for don. Speaking to Forbes.com about the prices of $560. We show you more antique and vintage clothing, she goes on: “If we’re looking vintage baby-face dolls on page 10. -
Visual Art Syllabus Dolan Middle School
Mr. DiGiovanna’s Visual Art Syllabus Dolan Middle School [email protected] _________________________________________________________________________________________________ 6th through 8th Grade Visual Art 6th and 7th Grade Students will spend the semester completing art projects designed to develop the student’s individual ideas and talents as an artist. The students will explore concepts that will increase their knowledge about art materials and use, art equipment, art history, and the application of it. 8th Grade Students will further explore the many venues of art education. Students will focus on higher order thinking skills while concentrating on specific applications of the given media. Students will use their skills in various relevant and rigorous projects. Scope and Sequence: The Visual Art curriculum is divided into the 6 major aspects of art creation. These will serve as a solid foundation for High School art and beyond. Projects that cover each of these aspects will be divided equally over the course of the semester. 1) Drawing: This is a foundational skill and is taught in many different ways throughout the semester. These may include pencil, charcoal, pastels, pen & ink, and colored pencil. 2) Painting: This area will explore two primary media techniques, watercolor and acrylic. 3) Sculpture: This area exposes students to the unique characteristics of creating in 3 dimensions and usually includes wire, plaster, and clay. 4) Printmaking: This area examines the creation process through the lens of producing repeated images. This is usually done through block and plate printing. 5) New Media: This area looks at contemporary design, illustration, and photography within the context of computer-based and digital media.