DOCSLIB.ORG

Texas Clay Traditions Ceramics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Texas Clay Traditions Ceramics November 1998 1 2 CERAMICS MONTHLY November 1998 Volume 46 Number 9 “Double Cantador,” 8½ inches in height, water whistle, slip cast and handbuilt, with airbrushed terra sigillata, fired to Cone 01, by Laurie Spencer, FEATURES Tulsa, Oklahoma. 55 31 The Attraction of the Intimateby Glen R. Brown Third biennial “International Orton Cone Box Show” 35 My Hands Tell Me What I’m Thinking by Ward Doubet The Pottery of Kris Nelson A new museum and training center in Ecuador supports the 39 Marvin Zehnder by Richard C. Bachus country’s ceramic heritage and Influential teacher delves into the “why” of artwork fosters new growth. 43 Texas Clay Traditions 50 Exhibition of works by educators and their teachers 44 Put a Lid on It Focusing on containment at the Appalachian Center for Crafts 46 Spraying Paper-Reinforced Clay by W. Lowell Baker How to produce large lightweight forms 50 New Museum and Education Center in Ecuador by Judy Blankenship with Paul Rivet Foundation Residency Program 55 El Rio de la Vida by Laurie Spencer Intimations of Ecuador 59 Fletcher Challenge’s Last Bowby Christine Thacker The end of New Zealand’s long-standing international show W. Lowell Baker preparing a sculpture form for 62 Pairing of Opposites by Kate Bonansinga spraying at the University of Eva Kwong’s Sculptural Vases Alabama, Tuscaloosa. 65 Cyberclay by Joe Molinaro 46 An Electronic Pottery Village with Joining Clayart Double spouted ewer, 6 inches 67 Storytelling by David Frank with Carol Wright in height, by Julia Galloway; The cover: “Color Burst,” Narrative expression in making pots from “Put a Lid On It” at the 25 inches in height, stoneware, Appalachian Center for Crafts. fired to Cone 5, by Eva Kwong, 71 Exploring Possibilitiesby Karen Salicath Kent, Ohio; see page 62. Abstract sculpture from the water’s edge 44 November 1998 3 UP FRONT 8 Peg Malloy Wood-fired ware at Margo’s Pottery and Fine Crafts in Buffalo, Wyoming 8 JudyTitche EditorRuth C. Butler Associate EditorKim Nagorski Mosaics at Northwest Gallery, Lafayette, Indiana Assistant EditorConnie Belcher 8 John Glick Assistant EditorH. Anderson Turner III Los Angeles County Museum of Art adds piece to collection Production SpecialistRobin Chukes 8 Seeking Exposure by James Sullivan Advertising ManagerSteve Hecker Bringing visibility to the University of Arizona program Circulation AdministratorMary R. Hopkins 10 David Austin’s Public Art by Richard C. Bachus Circulation AdministratorMary E. May Publisher Mark Mecklenborg Environmental sculpture in Michigan. 12 Latka Family Show by Terry Riley Editorial, Advertising and Circulation Offices Three viewpoints at Commonwheel Gallery, Manitou Springs, Colorado 735 Ceramic Place Post Office Box 6102 14 Alexandra McCurdy Westerville, Ohio 43086-6102 Vessels and wall hangings at the Art Gallery of Nova Scotia Telephone: (614) 523-1660 16 Canadian Biennial Fax: (614) 891-8960 Eighth competition open to Canadian ceramists E-mail: [email protected] [email protected] 18 Tableware Exhibition [email protected] The art of dining at the Louisville Art Association [email protected] 18 John Jessiman by Bryan McGrath Website: www.ceramicsmonthly.org Functional work at Munson-Williams-Proctor Institute School of Art Gallery Ceramics Monthly (ISSN 0009-0328) is published monthly, 18 International Biennial in Mexico except July and August, by The American Ceramic Society, 735 Juried competition in Monterrey Ceramic Place, Westerville, Ohio 43081. Periodicals postage 20 Beverly Prevost paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not White stoneware at the Oakland Museum of California Collector’s Gallery necessarily represent those of the editors or The American 20 Carol Bradley Ceramic Society. Subscription Rates: One year $26, two years $49, three years Earthenware vessels at the Cambridge Galleries in Ontario, Canada $70. Add $ 12 per year for subscriptions outside North America. 22 F elicity Aylieff In Canada, add GST (registration number R123994618). Handbuilt sculpture and vessels at Loes and Reinier, Deventer, Netherlands Change of Address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: 22 Steven Rushefsky Ceramics Monthly, Circulation Department, PO Box 6102, Nested work on view at Galeria Mesa, Mesa, Arizona Westerville, OH 43086-6102. Contributors: Writing and photographic guidelines are avail­ able on request. Mail manuscripts and visual support (photo­ graphs, slides, transparencies, drawings, etc.) toCeramics Monthly, DEPARTMENTS 735 Ceramic PI., PO Box 6102, Westerville, OH 43086-6102. We also accept unillustrated texts faxed to (614) 891-8960, or 6 Letters e-mailed to [email protected] 26 New Books Indexing: An index of each year s feature articles appears in 74 Call For Entries the December issue. Feature articles are also indexed in the Art Index and daai (design and applied arts index), available 74 International Exhibitions through public and university libraries. 74 United States Exhibitions Copies and Reprints: Searchable databases and document 76 Regional Exhibitions delivery are available through Information Access Company, 76 Fairs, Festivals and Sales 362 Lakeside Dr., Foster City, CA 94404; and through Univer­ 80 Suggestions sity Microfilms, 300 N. Zeeb Rd., Ann Arbor, MI 48106. Authorization to photocopy items for internal or personal 82 Calendar use, or the internal or personal use of specific clients, is granted 82 Conferences by The American Ceramic Society, provided the base fee of 82 Solo Exhibitions $5.00 per copy, plus $0.50 per page, is paid directly to the 84 Group Ceramics Exhibitions Copyright Clearance Center, 222 Rosewood Dr., Danvers, MA 86 Ceramics in Multimedia Exhibitions 01923. Prior to copying items for classroom use, please contact the Copyright Clearance Center, 222 Rosewood Dr., Danvers, 88 Fairs, Festivals and Sales MA 01923; (978) 750-8400. The code for users of the Trans­ 90 Workshops actional Reporting Service is 0009-0328/97 US$5.00 + $0.50. 92 International Events Back Issues: When available, back issues are $7 each, includes 96 Questions shipping and handling; $ 10 each outside North America. 106 Classified Advertising Postmaster: Send address changes toCeramics Monthly, PO Box 108 Comment: 6102, Westerville, OH 43086-6102. Form 3579 requested. Copyright © 1998 In the Coil: The Collector’s Urge by Delia Robinson The American Ceramic Society 112 Index to Advertisers All rights reserved 4 CERAMICS MONTHLY November 1998 5 raku is fired in a side chamber of a wood- I think raku is clearly a process as opposed Letters burning kiln, where it gains some reduction. to being a glaze treatment. While glazes are When mature, it is pulled out and dunked formulated to optimize the process, almost into water to prevent oxidation. The only any low-fire glaze can be used. Some of Good Marketing Advice other reference I could find to reduction wasDuncan’s Cone 06—04 glazes are really nice Thanks for publishing the article on in Japanese Ceramics where the author men­ copper reds. Cracklelcrazing is always a “Niche Marketing for Beginners” by Ivor tioned bisque firing with charcoal. Somehow,function of the fit of glaze to clay. Raku Lewis in the JunelJulylAugust issue. the carbon was then trapped in the clay bodycrazes because of the wild temperature ex­ During a five-year stay in the United (someone will have to explain this one to me)tremes. It should be noted, however, that States, my friend Elisabeth Stuetzle and I hadand would then affect the glaze color. Red raku-fired slipware will not normally craze opportunities to participate in several exhibi­ raku is fired to maturity, then cooled outside unless you use a crackle glaze. As noted tions. On returning to Germany, however, the kiln. above, the coloration of cracklelcrazing on we had a difficult time finding a gallery in Japanese raku is fired at a much lower traditional Japanese ware is a product of use, which to exhibit, or a shop whose owner temperature than what we are used to. Leachnot the firing. would be interested in selling our work. Sincesays 750°C. That is about Cone 017. Japa­ Whatever my feelings are about the use of we had always enjoyed making pottery for nese raku uses lead in the glaze. Leach even the name, it seems clear that raku has made flowers while we were in the U.S., we startedworries about the difference between red andthe transition to a new culture. In its journey, looking for ikebana schools in Germany. white lead in glazes, but eventually decides it has picked up some new attributes. Raku Fortunately, we found several ikebana mas­ that they are close enough to be interchange­now has a kind of cachet and romance to it. ters who were interested in our work. In less able. He talks about the fact that raku is Many potters market their pieces with blurbs than six months, we have already contributed porous but that it loses its porosity with use, about the tea ceremony and how raku means to two ikebana shows. as the cracks eventually fill up with tea resi­ peaceful. This is a pretty one-dimensional Ivor Lewis is right. It really is a good idea due. This is how the crackle!crazing pattern reading of an ideogram. Almost all Chinese, to look for a niche. gets colored. and by extension Japanese ideograms, have Angela Dittmer, Hirrlingen, Germany Leach’s description of a party where pieceslayers of meaning. It is why almost no one are fired for the guests after they have paintedwho is not native born understands the Good Question decorations on them is about as close as one subtleties of those languages. And, it makes Another great question for potters would gets to what we all seem to preconceive as about as much sense as using the name Smith be: What was the most insightful assignment raku.
Load more

Recommended publications
  • Polymer Clay Artist's Resource List
    POLYMER CLAY ARTIST’S RESOURCE LIST ARTISTS: Accomplished & Emerging Artists & Teachers ............................................................................................................. 2 COMMUNITY: Guilds, Groups, Forums, & Member Communities ........................................................................................... 9 EVENTS: Workshops, retreats, classes & industry shows ............................................................................................................ 13 INFORMATION & LEARNING: Blogs, Tutorials, Publishers, & Schools ................................................................................. 14 ORGANIZATIONS: Organizations for Professional Craft Artists .............................................................................................. 17 SUPPLIES: Supplies for Polymer, Jewelry, & Sculpture ............................................................................................................... 18 SALES & MARKETS: Year-round Sales Avenues & Services ....................................................................................................... 23 TECHNIQUES & STANDARDS: Site Links and Document ....................................................................................................... 24 GENERAL TECHNIQUES/FREE TUTORIALS.......................................................................................................................... 24 PAID TUTORIAL SITES ..............................................................................................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • HO060710 Sale
    For Sale by Auction to be held at Dowell Street, Honiton Tel 01404 510000 Fax 01404 44165 th Tuesday 6 July 2010 Ceramics, Glass & Oriental, Works of Art, Collectables & Pictures Furniture SALE COMMENCES AT 10.00am yeer Buyers are reminded to check the ‘Saleroom Notice’ for information regarding WITHDRAWN LOTS and EXTRA LOTS SALE REFERENCE HO09 Catalogues £1.50 On View: Order of Sale: Saturday 3rd July 9.00am – 12.00 Ceramics, Glass & Oriental Monday 5th July 9.00am – 7.00pm Lots 1 - 126 Morning of Sale from 9.00am Pictures Lots 131 - 195 Works of Art & Collectables Lots 200 - 361 Carpets, Rugs & Furniture Lots 362 - 508 TUESDAY 6TH JULY 2010 Sale commences at 10am. CERAMICS, GLASS & ORIENTAL 1. A pair of bookend flower vases in Whitefriars style. 2. A bohemian style green and clear glass vase, of trumpet shape, painted with floral sprays and gilt embellishment, 17cm high. 3. A pair of overlaid ruby glass decanters with floral knop stoppers. 4. An amber and milk glass globular vase, probably Stourbridge with vertical fluted decoration, 15cm high. 5. A pair of cut glass decanters with stoppers and one other. 6. A quantity of Carnival and other moulded glassware. 7. A quantity of cut and other glass. 8. A part suite of cut glass to include tumblers and wine glasses. 9. A quantity of various drinking glasses and glass ware. 10. A pair of cut glass decanters, two other decanters and stoppers, six tumblers and five brandy balloons. 11. A collection of twenty five various glass paperweights to include millefiore style paperweights, floral weights, candlestick and others.
    [Show full text]
  • The Wood Turning Center Is a Non-Profit Arts Institution Dedicated
    Chronological List of Exhibitions & Publications The Center for Art in Wood 141 N. 3rd Street | Philadelphia, PA 19106 | 215-923-8000 Exhibitions in italics were accompanied by publications. Title of exhibition catalogue is listed with its details. 2012 Hooked on Wood: The Allure of the Fish Decoy, The Center for Art in Wood, May 18 – July 21, 2012, Curated by Dick Walters, Adviser Gene Kangas. Hooked on Wood, showcases modern wood fish decoys and highlights historical works as early as 3000 years ago. Today fish decoys are appreciated for their beauty as polychrome sculptures and are evaluated on their ability to move in the water to attract real fish. Families and people of all ages will be astonished and delighted at the utter creativity and craftsmanship in this exhibit. Over 100 fish decoys are on display: Ice spearing decoys – a handmade utilitarian tool, trophy fish – decorative piscatorial portraits, and folk sculpture. 2012 Life Aquatic, The Center for Art in Wood, May 18 – July 21, 2012. In conjunction with Hooked on Wood, The Center invited six artists to exhibit work inspired by and in response to themes of sea life. Pulling inspiration from water, sea animals and plants the artists produced captivating sculptures, wall hangings, and even imaginative creatures that may lurk in the abyss. Exhibited Artists: Michael De Forest, Satoshi Fujinuma, Michael Hosulak, Janel Jacobson, Merryll Saylan, and David Sengel. 2011 Turning to Art in Wood: A Creative Journey, The Center for Art in Wood, November 4, 2011 – April 21, 2012. Curator: Gerard Brown. Celebrating the 25th anniversary of Philadelphia’s renowned Wood Turning Center as it takes a new name—The Center for Art in Wood—and moves to an exciting new location among the art galleries in Old City.
    [Show full text]
  • 9. Ceramic Arts
    Profile No.: 38 NIC Code: 23933 CEREMIC ARTS 1. INTRODUCTION: Ceramic art is art made from ceramic materials, including clay. It may take forms including art ware, tile, figurines, sculpture, and tableware. Ceramic art is one of the arts, particularly the visual arts. Of these, it is one of the plastic arts. While some ceramics are considered fine art, some are considered to be decorative, industrial or applied art objects. Ceramics may also be considered artifacts in archaeology. Ceramic art can be made by one person or by a group of people. In a pottery or ceramic factory, a group of people design, manufacture and decorate the art ware. Products from a pottery are sometimes referred to as "art pottery".[1] In a one-person pottery studio, ceramists or potters produce studio pottery. Most traditional ceramic products were made from clay (or clay mixed with other materials), shaped and subjected to heat, and tableware and decorative ceramics are generally still made this way. In modern ceramic engineering usage, ceramics is the art and science of making objects from inorganic, non-metallic materials by the action of heat. It excludes glass and mosaic made from glass tesserae. There is a long history of ceramic art in almost all developed cultures, and often ceramic objects are all the artistic evidence left from vanished cultures. Elements of ceramic art, upon which different degrees of emphasis have been placed at different times, are the shape of the object, its decoration by painting, carving and other methods, and the glazing found on most ceramics. 2.
    [Show full text]
  • Cliff Lee: New Directions by Paul F
    June/July/August 1999 1 2 CERAMICS MONTHLY JunelJulylAugust 1999 Volume 47 Number 6 “Stacked Bowls with Vase,” 21 inches in diameter, by Bobby Silverman; at materia/ The Hand and the Spirit Gallery, Scottsdale, Arizona. FEATURES 48 35 Visiting Ryoji Koie by Kelvin Bradford Trailblazing beyond Japanese tradition 39 Formulating Glazesby Richard A. Eppler “Plain View,” 32 inches in Limits for glaze calculation using mole percent height, painted ceramic, by John Woodward; at 43 Billy Ray Mangham by Gary C. Hatcher Riley Hawk Galleries in Humor and pathos in raku sculpture Columbus and Cleveland. 47 Limitless Low Fire 50 Vessels and sculpture at the Brookfield Craft Center, Connecticut 48 Bobby Silverman Stacked bowls and vases evoking floral forms 50 Looking in the Mirror: Aspects of Figurative Ceramics Contemporary sculpture at Riley Hawk Galleries in Ohio 52 Cliff Lee: New Directions by Paul F. Dauer Meticulously carved organic porcelain forms 57 Different for Me by Ken Vavrek Change doesn’t always come easy 60 English Urban, American Rural by Claire Wilcox Contemplating the capacity of pottery to express humanity 65 A Wood-Firing Raku Kiln by Nesrin During A low-tech way to raku anywhere Bottle, 9 inches in height, by Rob Barnard, 68 Castles in Spain by Frangoise Melville Timberville, Virginia. Three approaches to production 60 105 Unusual Pottery Markets by Brad Sondahl Finding new sales outlets Nesrin During describes construction and firing of a 107 Flash Reduction by Heather Young wood-fueled raku kiln, Low-fire lusters Oosterend, The Netherlands. The cover: A pair of 108 A Limp Ice-Cream Box, Stiff Paper, “Yellow Prickly Melons,” 65 to 14½ inches in height, a Couple Pieces of Magic Tape and by Cliff Lee; see page 52.
    [Show full text]
  • N.J.B.A. Newsletter
    N.J.B.A. Newsletter NJBA Volume 12, Issue 2 08/01/07 Editors Soapbox Red Mill Museum Well it’s the middle of Summer again and I hope in Clinton, New Jersey you all try to make it out to the next few events. I ANNUAL HAMMER-IN / know it can be hard to find the time to go to the meets but, it is also nice to take a break for the day, TOOL SWAP / NJBA PICNIC see some familiar faces and learn something new. Sunday, August 19, 2007, 10 am till 4 pm Larry Brown, Editor Red Mill Museum Village 56 Main Street Upcoming events for 200 Clinton, NJ 08809 Contact: Bob Bozzay, Eric Cuper, The Museum at Get you calendars out and mark these events down. Please bookmark our web site and check for (908) 735-4101 updated meet information. Remember most of our See invite letter on page 3! meets have an “Iron in the Hat” drawing, so be sure Activities will include demonstrations, the tail- to bring something. Meet information starts on this gate tool sale, iron in the hat and the NJBA mem- page and continues on page 3. bers picnic! In addition to previous years activities, we are inviting all Smiths who wish to exhibit/sell August 19th—Red Mill Hammer in Hammer in and picnic Coordinators— Robert their work and wares to participate. NJBA mem- Bozzay, Eric Cuper, Adam Howard bers or anyone wishing to tailgate, demonstrate or exhibit, will be provided free admission with pre- September 1st - Peter’s Valley Pig roast, tick- registration, general admission of $8 for the public.
    [Show full text]
  • At the Crossroads Pottery by Mark Hewitt Pucker Gallery | Boston 2
    1 At the CrossroAds Pottery by Mark hewitt Pucker Gallery | Boston 2 BiG Vase, CArPenter’s eGG, black manganese glaze with revealed salt glaze, yellow, and pink polka dots 43.5 x 24 x 24" Mh101 Cover: ten GAllon vAse, alkaline glaze with blue glass runs and black manganese neck 26 x 17.5 x 17.5" Mh99 All works Are stonewAre. 3 At the CrossroAds Pottery by Mark hewitt essAy By ChristoPher Benfey strAnGe thin Gs hAPPen At A southern Southern potters and comes up with his own distinctive kind of crossroads. Consider the red-clay town of Pittsboro, North ceramic music, utterly new and fresh—and very, very big. Carolina, where Mark Hewitt turns and burns his big-hearted Take a long look at two of Hewitt’s monumental pots, pots, down a winding gravel lane called Johnny Burke Road. Ike’s Peacock (MH102) and Carpenter’s Egg (MH101). These Smack-dab in the center of town, where two highways cross, magnificent pots, in their burgeoning scale, are unprecedented stands the Chatham County Courthouse, built in 1881 of in the North Carolina folk pottery canon. Solemn and seductive, rugged brick made down the highway in Sanford, the self- with their scale providing a thrilling clout, they have an immediate designated “Brick Capital of the U.S.A.” Or rather, the new appeal like that of Martin Puryear’s visionary sculptures, with courthouse stands there, since the old building, except for their own intersection of folk tradition and modernist panache. its façade and its statue of a Confederate soldier standing at They also represent the passage from the past to the present.
    [Show full text]
  • Thematic Manifestations: an Aesthetic Journey. Jeff Kise East Tennessee State University
    East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2004 Thematic Manifestations: an Aesthetic Journey. Jeff Kise East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Art and Design Commons Recommended Citation Kise, Jeff, "Thematic Manifestations: an Aesthetic Journey." (2004). Electronic Theses and Dissertations. Paper 877. https://dc.etsu.edu/ etd/877 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Thematic Manifestations: an Aesthetic Journey ______________________ A thesis presented to the faculty of the Department of Art and Design East Tennessee State University ______________________ In partial fulfillment of the requirements for the degree of Master of Fine Arts in Studio Art ______________________ by Jeff Kise May 2004 _____________________ Don Davis, Chair Anita DeAngelis Catherine Murray Keywords: Ceramics, Simplicity, Aesthetics, Saggar Firing, Flash Firing, Naked Raku ABSTRACT Thematic Manifestations: An Aesthetic Journey by Jeff Kise This thesis, in support of the Master of Fine Arts exhibition entitled Thematic Manifestations at East Tennessee State University, Carroll Reece Museum, Johnson City, Tennessee, March 2-12, 2004, describes in detail three aesthetic themes that are manifested in the work exhibited. The artist discusses his journey in establishing a “criterion of aesthetic values” whereby his work is conceptually developed. The three themes – The Paradox of Simplicity, The Decorative Power of Nature, and The Beauty of the Irregular – are founded on historical and contemporary influences and are further described in practical application of form and process.
    [Show full text]
  • TOM LOESER DEPARTMENT of ART 2826 Lakeland Ave 6241
    TOM LOESER DEPARTMENT OF ART 2826 Lakeland Ave 6241 Humanities Building Madison, WI 53704 University of Wisconsin-Madison Mobile: 608-345-6573 Madison, WI 53706 Email: [email protected] www.tomloeser.com EDUCATION 1992 MFA, University of Massachusetts-Dartmouth, Dartmouth, MA 1983 BFA, Furniture Design, Boston University, Boston, MA 1979 BA, Sociology and Anthropology, Haverford College, Haverford, PA ACADEMIC APPOINTMENTS 2002-present Professor of Art, University of Wisconsin, Madison, WI 2017 Program Leader, UW in London Program 2009-2014 Department Chair, Art Department, University of Wisconsin-Madison 1996-2002 Associate Professor of Art, University of Wisconsin, Madison, WI 1992-1996 Assistant Professor of Art, University of Wisconsin, Madison, WI 1991-1992 Instructor, Art Department, University of Wisconsin, Madison, WI 1989-1990 Adjunct Professor, California College of Arts and Crafts, Oakland, CA 1988 Instructor, Rhode Island School of Design, Providence, RI 1987 Instructor, Rhode Island School of Design, Providence, RI 1987 Instructor, Swain School of Design, New Bedford, MA HONORS AND AWARDS 2015-present University of Wisconsin, Vilas Research Professor 2015-2020 University of Wisconsin, WARF Named Professorship 2013 Wisconsin Visual Art Lifetime Achievement Award, awarded by the Museum of Wisconsin Art, Wisconsin Visual Artists and the Wisconsin Academy of Sciences. 2012 Elected to American Craft Council College of Fellows 2006 Wisconsin Arts Board Visual Arts Fellowship 2006 University of Wisconsin Kellett Mid-Career Award 2004
    [Show full text]
  • Brookfield Craft Center Course Catalog: April – June, 2011
    ! BROOKFIELD CRAFT CENTER COURSE CATALOG: APRIL – JUNE, 2011 Updated March 31, 2011 Brookfield Craft Center Course Catalog SPRING 2011, March 31, 2011 Edition ! ! CERAMICS: High Fire All Levels CERAMICS 101 [CL1111] Sarah Bernhardt 7 Monday evenings, April 11-May 23, 6p - 9p Tuition: $405 Clay and you…the creative possibilities are endless. The ceramic medium is known and admired for it’s great versatility. Join us in exploring the myriad of processes and techniques available to you. As a participant in this class, you’ll enjoy weekly demonstrations, hands on studio time, and historical references, as we learn about clay bodies, kiln temperature, hand building, wheel work, glazing and more. Topics of study will be tailored to individual student interests, within a loosely structured curriculum. Whether this is your first creative step with clay, or you’ve been at it for a while, this class offers students a wide and wonderful sampling of ceramic techniques, a sure match for every type of artistic interest and expression. Students can expect to go home with a collection of work, including suggested assignments designed to teach specific skill sets; and independent works of art. A materials fee of $15 payable to the instructor at the beginning of class will cover the cost of 25# of clay; there is a firing fee of $.05 per cubic inch. CERAMICS: High Fire All Levels HIGH FIRE THROWING [CL1211] CERAMICS Sarah Bernhardt CERAMICS: Low Fire 7 Wednesday morniQgs, April 13-May 25, 10a-1p All Levels Tuition: $405 COLORFUL CLAY [CL1011] Get ready to turn up the heat in this high fire ceramics Lisa Scroggins class.
    [Show full text]
  • First Impression : the Study of Entry in Architecture
    Copyright Warning & Restrictions The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be “used for any purpose other than private study, scholarship, or research.” If a, user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of “fair use” that user may be liable for copyright infringement, This institution reserves the right to refuse to accept a copying order if, in its judgment, fulfillment of the order would involve violation of copyright law. Please Note: The author retains the copyright while the New Jersey Institute of Technology reserves the right to distribute this thesis or dissertation Printing note: If you do not wish to print this page, then select “Pages from: first page # to: last page #” on the print dialog screen The Van Houten library has removed some of the personal information and all signatures from the approval page and biographical sketches of theses and dissertations in order to protect the identity of NJIT graduates and faculty. FIRST IMPRESSION: THE STUDY OF ENTRY IN ARCHITECTURE by Siriwan Polpuech Thesis submitted to the Faculty of the Graduate School of the New Jersey Institute of Technology in partial fulfilment of the requirement for the degree of Master of Science in Architectural Studies 1989 APPROVAL SHEET Title of Thesis: First Impression: The Study of Entry in Architecture Name of Candidate: Siriwan Polpuech Master of Science in Architectural Studies, 1989 Thesis and Abstract Approved: Prof.
    [Show full text]