Ten Years of Pottery in New Zealand
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New Zealand Potter Volume 21 Number 1 Autumn 1979
"iewzed'dhdtter“v.<.>-'._21/] éUtumn 1979 new zealand potter vol 21/] autumn 1979 f" Contents 215t National Exhibition, NZ Society of Potters l Accounting without tears Thoughts about natural gas Slab rollers \OOOGN Margaret’s place 10 Daniel Rhodes — his visit 14 Travelling in South America with Anneke Borren 18 Pottery school at Te Horo 20 Warren Tippett 21 Barry Brickell remembers early days again 28 A climbing kiln 29 Clark and Crum modeling clays 30 Design guidelines for beginners 31 INTRODUCTION Hazy morning slow but hotter, Recent work 32 easing through the smokey stacks, The half bisqued potter sits, Auckland Studio Potters Annual Exhibition 34 mishima jeans, carbon fingers checking spies — playing it outside the rule, carbon face with carbon eyes, History on your table 37 mistakenly brilliantly burnished and fluxed, columns, into cleaner skies. with crystalline crackle and pool, Legs up high on unsprung dust sacks, a thermocouple stuck in his ear and the clock reading singed off sweat rag face, twelve hundred and dropping. An underfired test mug as heat moves into all around — full of “leftbehindahalfabottle” wine — 1979, it starts to feel and taste. cone ten singe White hot orgasmic cone down time the kiln and you are soaking on a burnt back fringe, New Zealand Potter is a non-profit making magazine published twice annually. Circulation is 6,500. The holding fuel flow, now cut its throat, with bright squares in his spy—eyes. : annual subscription is $NZ4.00, for Australia $A4.70, Canada and the United States, $U.S.5,40, Britain Cannot remember when or more particularly why, and start off, your wine fed hoping, £2.70 postage included. -
Te Uru's Anniversary Show
TURNING 30: TE URU’S ANNIVERSARY SHOW 1985 | Artists Against Apartheid 1986 | Gallery Opening: exhibition review 1986 | Opening Day 1987 | Marte Szirmay: exhibition review 1991 | Richard Parker: Dishes 1991 | Ian Scott: Paintings 1991 | Ian Scott: Paintings 1991 | Skein/Skin 1991 | Ruth Castle: Basketry 1991 | Christine Thacker: Lightning Trees 1991 | Schools student workshops 1991 | Shard Cult (Bronwyn Cornish) 1992 | Kahu Te Kanawa: He Taonga Tuku Iho ‘Kete’ 1992 | Kahu Te Kanawa: He Taonga Tuku Iho ‘Kete’ 1992 | Barbara Bilyard: Spirals and Other Angles 1992 | 50 Years of Deaf Education 1992 | Pacific Tapa - Tapa from Fiji, Tonga, Samoa 1993 | Women Paint the Land: Group show 1993 | Bomb the Building: Group Show 1993 | Bomb the Building: Group Show 1993 | John Lyall: Towards a Feral Art 1993 | Made in Waitakere: Group Show 1993 | John Staniford: Paintings of Brazil 1993 | Combings of Photography - Invited Artists 1994 | Celebration ‘94:: Waitakere Artists (John Parker) 1994 | Celebration ‘94:: Waitakere Artists (Moyra Elliot) 1994 | Celebration ‘94:: Waitakere Artists (Len Castle) 1994 | Small Gallery - Haru Sameshima 1994 | Jenny McLeod: Shard 1994 | Pip Culbert: Seamstress 1994 | Pip Culbert: Seamstress 1994 | Pat Hanly’s Choice 1994 | Pat Hanly’s Choice 1994 | Tufuga Matapouiu A Nuie 1995 | Alan Curnow: The Loop in Lone Kauri Road 1995 | Maureen Lander & Amanda Wright: Gold Leaf: 1995 | Tara McLeod: The Gallipoli Poems 1995 | Marte Szirmay: New Sculpture 1995 | Nga Pakiwaitara Me Te Reo 1996 | Joyce Campbell: Touch Lightly 1996 | -
Denis O'connor Emma Jameson Linda Tyler Martin Poppelwell Meighan Ellis Valerie Ringer Monk Nina Van Lier Tessa Laird Bronwyn
Denis O’Connor Bronwyn Lloyd Emma Jameson Gregory O’Brien Linda Tyler Janet McAllister Martin Poppelwell Jenny Bornholdt Meighan Ellis David Craig Valerie Ringer Monk Anna Miles Nina van Lier Louise Rive Tessa Laird Moyra Elliott Empire of Dirt: Writing about ceramics Welcome to the Empire of Dirt, a rather grand The framing of an object is important for the reading of nomenclature for an exhibition with such earthy origins. its cultural and economic value. By bringing together these As with all empires those assembled here are an eclectic ceramic objects in a gallery setting we are messing with group, gathered not by military domination but rather by their status. The Orange Glaze tea jar, the Palestinian a simple invitation. Friends, friends of friends and others Arts and Crafts bowl and the Vieux Paris vase, all whose writing came highly recommended were invited originally commercial consumer products, rise above to select a ceramic work that captured their imagination utilitarian domesticity by being singled out for inclusion and to craft a personal response in words. Expanding in the exhibition where the writers solicit our appreciation the conversation about ceramics through lively, varied, of their history and ebullience. Giving attention and challenging, dynamic and surprising writing is at the consideration to an object can change the perception of heart of this exhibition. In a rather neat reversal of the its value; so it is that The Rubble, Relics and Wasters, all more usual exhibition format, Empire of Dirt, like its pieces which reference the discarded detritus of making, predecessor, Talking About (Objectspace 2004), places are transformed first by their makers and then through the writing centre stage while the works are present to written praise and visual honouring. -
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. -
Our Finest Illustrated Non-Fiction Award
Our Finest Illustrated Non-Fiction Award Crafting Aotearoa: Protest Tautohetohe: A Cultural History of Making Objects of Resistance, The New Zealand Book Awards Trust has immense in New Zealand and the Persistence and Defiance pleasure in presenting the 16 finalists in the 2020 Wider Moana Oceania Stephanie Gibson, Matariki Williams, Ockham New Zealand Book Awards, the country’s Puawai Cairns Karl Chitham, Kolokesa U Māhina-Tuai, Published by Te Papa Press most prestigious awards for literature. Damian Skinner Published by Te Papa Press Bringing together a variety of protest matter of national significance, both celebrated and Challenging the traditional categorisations The Trust is so grateful to the organisations that continue to share our previously disregarded, this ambitious book of art and craft, this significant book traverses builds a substantial history of protest and belief in the importance of literature to the cultural fabric of our society. the history of making in Aotearoa New Zealand activism within Aotearoa New Zealand. from an inclusive vantage. Māori, Pākehā and Creative New Zealand remains our stalwart cornerstone funder, and The design itself is rebellious in nature Moana Oceania knowledge and practices are and masterfully brings objects, song lyrics we salute the vision and passion of our naming rights sponsor, Ockham presented together, and artworks to Residential. This year we are delighted to reveal the donor behind the acknowledging the the centre of our influences, similarities enormously generous fiction prize as Jann Medlicott, and we treasure attention. Well and divergences of written, and with our ongoing relationships with the Acorn Foundation, Mary and Peter each. -
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. -
Download PDF Catalogue
ART+ OBJECT New Collectors Art Tuesday 1 September at 6.30pm Decorative Arts Wednesday 2 September at 6.30pm New Collectors Art lots 1 to 302 pages 8 to 61 Decorative Arts lots 310 to 1169 pages 62 to 101 Welcome to A+O’s catalogue 97 – a wonderful mix of art and collectables. This catalogue takes its cue from the glorious eye-popping imagery of Op Art pioneer Victor Vasarely (1906–1997) whose suite of works in the New Collectors art catalogue represents the diversity of practice on the following pages. In this catalogue we are presented with a rare opportunity to acquire works on paper from some of the 20th century titans of European modernism such as Fernand Leger, Barbara Hepworth, Henry Moore, Joan Miro, Georges Braque, Karel Appel and Howard Hodgkin to name some of the artists whose work is rarely spotted in New Zealand. Cover: Lot 101, Victor Vasarely, from the suite Réponses à Vasarely, Studio In addition to the works that make up such a varied New Collectors Art Bruckmann, Munich, Éditions Lahumiere, Paris, 1974 catalogue A+O presents rare New Zealand Taonga, well provenanced Modern Design furniture, New Zealand studio ceramics, decorative Inside front cover and page 1: arts, taxidermy, vintage radios and Asian Art. Lots 674 and 675, Tom Greene Brutalist chandelier and ceiling lamps. Of particular interest are works from the travelling exhibition The Transmogrifier Machine by furniture designer Katy Wallace. These This page: Lot 713, Edgar Mansfield, bronze figure of Christ. constructions (lots 808 to 824) are remarkable transformations of found furniture and design into new items of sculpture – a collaboration Inside back cover: Lot 169, Layla between the past and the present day. -
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. -
To Better Understand and Treasure the Past, Enrich the Present, and Meet the Challenges of the Future
museum of new zealand te papa tongarewa g.12 ANNUaL REPORT 2006/07 To better understand and treasure the past, the past, better understand and treasure To and enrich the present, meet of the challenges the future. Waharoa in Te Papa’s Wellington Foyer This fine example of a traditional waharoa (gateway) was commissioned for the New Zealand Government by Augustus Hamilton, the director of the Colonial Museum, Te Papa’s forerunner. In 1906, it featured in the New Zealand International Exhibition in Christchurch. Here it formed part of a double stockade that enclosed the exhibition’s model pä, called Araiteuru. The work was carried out by master carver Neke Kapua and his sons Tene and Eramiha, of Te Arawa’s Ngäti Tarawhai tribe, Rotorua, in 1906. The waharoa is carved from a 22–metre single slab of tötara that came from the central North Island. 1 Museum of New Zealand Te Papa Tongarewa of new museum Annual Report 2006/07 Te Pürongo ä-Tau 2006/07 In accordance with section 44 of the Public Finance Act 1989, this annual report of the Museum of New Zealand Te Papa Tongarewa for 2006/07 is presented to the House of Representatives. zealand te papa tongarewa te papa zealand John Judge Glenys Coughlan Chairman Board member 31 October 2007 31 October 2007 annual report 2006/07 report annual Contents Ngä Ihirangi Performance at a glance He Tirohanga ki ngä Whakatutukitanga 2 1 Operating Framework Te Anga Whakahaere 5 1.1 Concept 5 1.2 Corporate Principles 5 1.3 Functions and Alignment with Government Priorities 7 2 Overview Statements Ngä Tauäki -
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. -
Download PDF Catalogue
A+O 8 ART+OBJECT 3 Abbey Street, Newton PO Box 68 345, Newton Auckland 1145, New Zealand Telephone +64 9 354 4646 Freephone 0800 80 60 01 Facsimile +64 9 354 4645 [email protected] www.artandobject.co.nz Contemporary Art and Objects October 4 2007 at 6.00pm 3 Abbey Street, Newton, Auckland 75 Frank Carpay Handwerk for Crown Lynn Handpainted vase (detail – left) 5 Ronnie van Hout I want my Mummy (detail – cover image) Welcome to A+O’s second contemporary art and object catalogue, dedicated solely to contemporary practice. At the outset we had confidence in the strength and quality of contemporary New Zealand art, as well as our vision for it in a secondary market context. Nonetheless we could not have envisaged the success of our launch auction, or its effect on the wider market. Our inaugural auction in this sector achieved a quite incredible 82% sale rate by value and by volume. Record auction prices were achieved for no fewer than 18 artists. While the figures are impressive, ART+OBJECT’s commitment to contemporary art is not simply about the functioning of the marketplace, it comes from a deep engagement with the art of our time, its practitioners and the wider art environment we participate in. That is why so much care is taken with the catalogue and the pre-auction exhibition of the artworks to be offered for sale. Our plan was always to present two specialist Contemporary Art catalogues per year and the positive feedback we have received from artists, gallerists and collectors reinforces our commitment to continue offering contemporary art at auction.