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Antonio Prieto; » Julio Aè Pared 30 a Craftsman5 Ipko^Otonmh^
Until you see and feel Troy Weaving Yarns . you'll find it hard to believe you can buy such quality, beauty and variety at such low prices. So please send for your sample collection today. and Textile Company $ 1.00 brings you a generous selection of the latest and loveliest Troy quality controlled yarns. You'll find new 603 Mineral Spring Avenue, Pawtucket, R. I. 02860 pleasure and achieve more beautiful results when you weave with Troy yarns. »««Él Mm m^mmrn IS Dialogue .n a « 23 Antonio Prieto; » Julio Aè Pared 30 A Craftsman5 ipKO^OtONMH^ IS«« MI 5-up^jf à^stoneware "iactogram" vv.i is a pòìnt of discussion in Fred-Schwartz's &. Countercues A SHOPPING CENTER FOR JEWELRY CRAFTSMEN at your fingertips! complete catalog of... TOOLS AND SUPPLIES We've spent one year working, compiling and publishing our new 244-page Catalog 1065 ... now it is available. In the fall of 1965, the Poor People's Corporation, a project of the We're mighty proud of this new one... because we've incor- SNCC (Student Nonviolent Coordinating Committee), sought skilled porated brand new never-before sections on casting equipment, volunteer craftsmen for training programs in the South. At that electroplating equipment and precious metals... time, the idea behind the program was to train local people so that they could organize cooperative workshops or industries that We spent literally months redesigning the metals section . would help give them economic self-sufficiency. giving it clarity ... yet making it concise and with lots of Today, PPC provides financial and technical assistance to fifteen information.. -
Adrian Saxe by Elaine Levin
October 1993 1 William Hunt.................................... Editor Ruth C. Butler ................Associate Editor Robert L. Creager..................... Art Director Kim Nagorski..... .............Assistant Editor Mary Rushley ............... Circulation Manager Mary E. Beaver ....Assistant Circulation Manager Connie Belcher .......Advertising Manager Spencer L. Davis .......................... Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Post Office Box 12448 Columbus, Ohio 43212 (614) 488-8236 FAX (614) 488-4561 Ceramics Monthly (ISSN 0009-0328) is pub lished monthly except July and August by Profes sional Publications, Inc., 1609 Northwest Bou levard, Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates: One year $22, two years $40, three years $55. Add $10 per year for subscriptions outside the U.S.A. In Canada, also 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 Offices, Post Office Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, announcements, news releases, photographs, color separations, color transparencies (including 35mm slides), graphic illustrations and digital TIFF or EPS im ages are welcome and will be considered for publication. Mail submissions to Ceramics Monthly, Post Office Box 12448, Columbus, Ohio 43212. We also accept unillustrated mate rials faxed to (614) 488-4561. Writing and Photographic Guidelines:A book let describing standards and procedures for sub mitting materials is available upon request. Indexing:An index of each year’s articles appears in the December issue. Additionally, Ceramics Monthly articles are indexed in the Art Index. Printed, on-line and CD-ROM (computer) index ing is available through Wilsonline, 950 Univer sity Avenue, Bronx, New York 10452; and from Information Access Company, 362 Lakeside Drive, Forest City, California 94404. -
Annual Statewide Juried Exhibition
th ANNUAL STATEWIDE 50 JURIED EXHIBITION HONOLULU MUSEUM OF ART SCHOOL OCTOBER 25 - NOVEMBER 10, 2017 THE ANNUAL EXHIBIT, 1967-2017 HAWAII CRAFTSMEN 1ST ANNUAL EXHIBITION, OCTOBER 12-21, 1967, ALA MOANA CENTER LANAI EXHIBIT AREA In 1987, Frances Pickens wrote “Hawaii Craftsmen is a generation of artists enduring over time.” During the previous two decades, the schism between art and craft had offered little opportunity for craft-based artists in Hawaii to exhibit their work. Consequently, in October 1967 a small group of designer-craftsmen, who “felt the need to exhibit their one-of-a-kind pieces in an aesthetic environ- ment as art objects,” organized the Hawaii Craftsmen Annual Exhibit at Ala Moana Center’s Lanai Exhibit Area. The exhibition became the first juried show of its kind in Hawaii. It has since evolved into the state’s foremost juried show of two and three dimensional arts created in clay, metal, fiber, wood, glass, stone, and mixed media. Born out of a desire to encourage the development of fine crafts in Hawaii, the annual exhibit has brought forward works of the highest quality of craftsmanship and artistic excellence. Each year’s ENDURING OVER TIME exhibition presents the state’s most prominent fine craft artists, while also providing emerging artists with the necessary stepping stones toward professionalism and artistic exposure. Since 1967, the Ha- waii Craftsmen Board of Directors has invited leading artists, curators, and art critics from across the US to jury the annual exhibit, thus ensuring the continued growth and excellence of the state’s craft artists while also helping to advance the prominence of fine crafts within the broader art community. -
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. -
Research Resources at the Smithsonian American Art Museum Amelia A
From La Farge to Paik Research Resources at the Smithsonian American Art Museum Amelia A. Goerlitz A wealth of materials related to artistic interchange between the United States and Asia await scholarly attention at the Smithsonian Institution.1 The Smithsonian American Art Museum in particular owns a remarkable number of artworks that speak to the continuous exchange between East and West. Many of these demonstrate U.S. fascination with Asia and its cultures: prints and paintings of America’s Chinatowns; late-nineteenth- century examples of Orientalism and Japonisme; Asian decorative arts and artifacts donated by an American collector; works by Anglo artists who trav- eled to Asia and India to depict their landscapes and peoples or to study traditional printmaking techniques; and post-war paintings that engage with Asian spirituality and calligraphic traditions. The museum also owns hundreds of works by artists of Asian descent, some well known, but many whose careers are just now being rediscovered. This essay offers a selected overview of related objects in the collection. West Looks East American artists have long looked eastward—not only to Europe but also to Asia and India—for subject matter and aesthetic inspiration. They did not al- ways have to look far. In fact, the earliest of such works in the American Art Mu- seum’s collection consider with curiosity, and sometimes animosity, the presence of Asians in the United States. An example is Winslow Homer’s engraving enti- tled The Chinese in New York—Scene in a Baxter Street Club-House, which was produced for Harper’s Weekly in 1874. -
Jon and Tessy Pettyjohn Philippine Ceramics Pioneers by Jon Lee
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) 895-4220 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. -
The Studio Potter Archives
ARIZONA STATE UNIVERSITY ART MUSEUM CERAMICS RESEARCH CENTER THE STUDIO POTTER ARCHIVES 2015 Contact Information Arizona State University Art Museum Ceramics Research Center P.O. Box 872911 Tempe, AZ 85287-2911 http://asuartmuseum.asu.edu TABLE OF CONTENTS Collection Overview 3 Administrative Information 3 Biographical Note 3 Scope and Content Note 4 Arrangement 5 Series 1: Magazine Issues: Volume 1, No. 1 – Volume 32, No. 2 Volume 1, No. 1 5 Volume 2, Nos. 1-2 6 Volume 3, Nos. 1-2 7 Volume 4, Nos. 1-2 9 Volume 5, Nos. 1-2 11 Volume 6, Nos. 1-2 13 Volume 7, Nos. 1-2 15 Volume 8, Nos. 1-2 17 Volume 9, Nos. 1-2 19 Volume 10, Nos. 1-2 21 Volume 11, Nos. 1-2 23 Volume 12, Nos. 1-2 26 Volume 13, Nos. 1-2 29 Volume 14, Nos. 1-2 32 Volume 15, Nos. 1-2 34 Volume 16, Nos. 1-2 38 Volume 17, Nos. 1-2 40 Volume 18, Nos. 1-2 43 Volume 19, Nos. 1-2 46 Volume 20, Nos. 1-2 49 Volume 21, Nos. 1-2 53 Volume 22, Nos. 1-2 56 Volume 23, Nos. 1-2 58 Volume 24, Nos. 1-2 61 Volume 25, Nos. 1-2 64 Volume 26, Nos. 1-2 67 1 Volume 27, Nos. 1-2 69 Volume 28, Nos. 1-2 72 Volume 29, Nos. 1-2 74 Volume 30, Nos. 1-2 77 Volume 31, Nos. 1-2 81 Volume 32, Nos. 1-2 83 Series 2: Other Publications Studio Potter Network News 84 Studio Potter Book 84 Series 3: Miscellaneous Manuscripts and Images Miscellaneous Manuscripts 85 Miscellaneous Images 86 Series 4: 20th Anniversary Collection 86 Series 5: Administration Daniel Clark Foundation/Studio Potter Foundation 87 Correspondence 88 Miscellaneous Files 88 Series 6: Oversized Items 88 Series 7: Audio Cassettes 89 Series 8: Magazine Issues: Volume 33, No. -
The Contemporary Ceramics Movement in Hawaii
THE CONTEMPORARY CERAMICS MOVEMENT IN HAWAII Shige Yamada Under the patronage of Hawaiian capital of the world with the fall of somewhat abruptly, controversy royalty, the arts of ancient Hawaii Paris in 1940, acquired much national and spirited dialogue. This marked flourished, reaching great heights. prominence in art. The growing the beginning of the contemporary Skilled artisans produced ritual. potency of modern art, manifested ceramics movement in Hawaii. Later, domestic, and ornamental objects in part by an increasing acceptance Peter Voulkos was to lead a similar unsurpassed in Polynesia-until the within art circles of the New York movement in California which played early part of the 19th century when School, was felt even in Hawaii by an important role in the contem the various kapu, societal prohibitions, the tiny art community which then porary crafts movement which were abandoned. Without the kapu included a few painters, printmakers swept the country. system, which ruled every aspect of and sculptors. When Claude Horan came to teach island life, the traditional culture ceramics at the University of Hawaii collapsed. Hastening the demise of The Beginning of the in 1947, he started with severely this fragile society was the arrival Contemporary Ceramics Movement limited facilities. Ceramics was a of large numbers of missionaries, The years from 1947 to 1950, with new course offering at the University merchants and laborers from Europe, the sudden emergence of significant and an empty World War 11 military America and Asia who settled ceramic art in the Islands, were barrack served as a classroom. A throughout the island chain, irre particularly eventful ones in Hawaii's bouyant and enthusiastic young potter vocably altering what remained of the art history. -
Generations: Works by Jun Kaneko & Toshiko Takaezu
Generations: Works by Jun Kaneko & Toshiko Takaezu October 24 - December 6, 2008 According to Lamont Gallery Director Karen Burgess Smith, Generations: Works by Jun Kaneko & Toshiko Takaezu, featuring works by two ceramics icons, came about because of Fontaine. “Curtis contacted me during his junior year at Skidmore College to let me know that he was apprenticing with noted ceramic artist Toshiko Takaezu, and that she was interested in showing here. She also hoped that her dear friend Jun Kaneko would include works in the Lamont Gallery as well. Needless to say, having works here by both of these extraordinary artists will be a once-in-a-lifetime experience,” says Smith. Known by many for his large, hand-built ceramic forms, Jun Kaneko was born in Nagoya, Japan, in 1942. He studied painting with Satoshi Ogawa during the day, and completed his high school requirements by attending night school. Kaneko first came to the United States in 1963 to continue his studies at the Chouinard Institute of Art in Los Angeles. He was influenced by the sculptural ceramics collected by Fred Marer, and studied with Peter Voulkos, Paul Soldner and Jerry Rothman in what is now called the “contemporary ceramics movement.” During the following decade, Kaneko taught at several leading art institutions, such as the Rhode Island School of Design and the Cranbrook Academy of Art in Bloomfield, MI. Since 1986, Kaneko has been based in Omaha, NE, and created his current studio there in 1990. During his artistic career, he has worked in several experimental studios around the world, and is regarded a highly prolific artist who works not only in ceramics, but bronze, glass, drawings and paintings as well. -
October 19,59 G Old M L' Dal Ing Historical a Nd Artistic Qual Ity, Chosen from Museum Tional Code
demonstrate the stages in the development of the fin The.:. Tational ished work, This material will become part of the per manent collection o f the Museum of Contemporary Adz isorl} Boa rd Crafts, to be used for display and for circulating edu cational units of the Amencan Craftsmen's Council. > The National Advisory Board held its annual meeting The nine enamclists who were commissioned are: at the close of the Lake George Conference. The dis C Margaret Craver, Karl Drerup, Robert J. King. Mary cussion ranged through a variety of subjects including Ellen McDermott, John Paul Miller. Earl B. Pardon, membership, jurying. regional conferences, and a code Ronald Pearson, June Schwarcz and Joseph Trippetti. of ethics for craftsmen. It was suggested that all affi Finally, the contemporary enamel work is shown c:! liates who have formulated a Code of Ethics send one against the background of sixty enamels of outstand copy to ACC for a study leading to a possible Na October 19,59 G old m l' dal ing historical a nd artIstic qual ity, chosen from museum tional Code. collections in this country, This part provides a point winner hv Dirk Hubers David Campbell reiterated his belief that the contin of perspective for the exhibition as a whole, shows the ued growth of ACC depended upon a mutual effort historical use of various techniques, provides the op among individual members, affiliated groups, and portunity for comparisons with contemporary work ACe. The ACC does not intend to impose any rigid and finally, inspiration for the enamelist. Some enam pattern upon its members, but only to lead them in the eli sts interviewed stated frankly that the study of directions they themselves believe are best. -
Oral History Interview with Alice Kagawa Parrott, 2005 July 10
Oral history interview with Alice Kagawa Parrott, 2005 July 10 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Alice Kagawa Parrott on July 10, 2005. The interview took place in Santa Fe, New Mexico, and was conducted by Paul J. Smith for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Alice Kagawa Parrott and Paul J. Smith have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview PAUL SMITH: Alice, it's good to be here with you, to do this interview. We're going to begin by talking about your formative years. Could you tell me when and where you were born? ALICE KAGAWA PARROTT: I was born on February 12, 1929, in Honolulu, Hawaii. MR. SMITH: And could you tell me a little bit about your parents and your upbringing? MS. PARROTT: My parents immigrated to Hawaii from Japan-Hiroshima, Japan-in the early 1920s, and my father worked on a plantation-pineapple. -
I Ceramics Monthly Fired at 1550°F on Both Sides
~ ~ ~ ~ BACK TO WORK ISSUE - • ~.,I~ ~ ~ ~,~ ~ SEPTEMBER 196~60c.~, ~e~ • ~;~ ~ ~~'~~ ~ ~....... 'i~:~:,iil~ A TTENTION NEW YORK DEALERS and TEACHERS! You are invited to visit LONG ISLAND CERAMIC CENTER 77 West Merrick Road Freeport, New York 11520 (516) 378-8288 NEW YORK'S NEWEST and MOST COMPLETE CERAMIC HOBBY CENTER • . a new concept in "ONE-STOP" ceramic shopping Hundreds of new ideas * Complete stock of all ceramic supplies • Greenware from latest molds • Instruction for---dealers and hobbyists Featuring ALL molds - glazes - underglazes - unfired stains DON'T SETTLE FOR LESS THAN THE BEST! Stop by for a visit soon-- 9 C/) ,,, U) UJ ',') ~ U.o o 0 o < 2=+ "~ ~'6-~ ",J~ ='=+ z £++ e~ o, u. - + n* ILl =="i ++'+ L'2:B',= +r<=++m :: ¢J~ ~o~-~" .~ ,., +: 8 + o ~ Z ,.~1 <= ................ , .... ES~e,~.3Wm:l ~uJ ~ m < u'- m<' <~=.=+ ~.- ~a-m.." ~.mo= z w+. ~- o-~ °-~°= ~-"+~ -~o - <z~> .-~.<~ o~,z.+-:m<~: <. ~.u+ _.:~mw~ ~mm ~;,J+ . c=<m ~ z~=m + <c>~=lP<~=+¢ ~'_~:=" LIJ ~ ~='~ E~ z~.~= ~.=.~.~z .~£: : ~_>_~, <z~i+<~.~.z_ .~¢.>o 8 ~m~-mug" <u~'~<~:< _z_<m~= ++°-o +++++ <+ .... ++°+++ ++ ...... ++++++ + + + .-n ~ u') 0 ,J.' ~ d ..I ,.J ,_J :-. u z oi-'".~ ~:~ D E- +'- -~ e + ~'+~< .-',.+ =. 03 0:3 ~C>,o= =+,,,x~ m{ • +'+j +|o _o.: ~-.p.e.'~-~ ++P +~.. I+ I~ I~ I=3 ++ c,. + • .~,;u+az__a.+..mg~:~m£m.+ ×~o. .~:++ <.,o =+.+< z,;'~,~=3-Su~,+o+ 8 2+.++ ~-~.5 - m >=go: - --o~.x z ~ .su~ o:m5 z u+- xo -~ < m'~o>;~ o z"+m~<°:~m>~ Z m W m + m m ~ m + 0 m ~ O m w O + + Z m X ~ ~ ¢ m I W m " ~ + " 0 3 -- m m Z m ~ + ~ ~ X ~ ~ ~ W + m z <__.-<= o -mw~:C~" + +_, ",(-~ 0"" t~ " p=| @ ~ .