Here the Life Is by Dick Lehman
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Phase Evolution of Ancient and Historical Ceramics
EMU Notes in Mineralogy, Vol. 20 (2019), Chapter 6, 233–281 The struggle between thermodynamics and kinetics: Phase evolution of ancient and historical ceramics 1 2 ROBERT B. HEIMANN and MARINO MAGGETTI 1Am Stadtpark 2A, D-02826 Go¨rlitz, Germany [email protected] 2University of Fribourg, Dept. of Geosciences, Earth Sciences, Chemin du Muse´e6, CH-1700 Fribourg, Switzerland [email protected] This contribution is dedicated to the memory of Professor Ursula Martius Franklin, a true pioneer of archaeometric research, who passed away at her home in Toronto on July 22, 2016, at the age of 94. Making ceramics by firing of clay is essentially a reversal of the natural weathering process of rocks. Millennia ago, potters invented simple pyrotechnologies to recombine the chemical compounds once separated by weathering in order to obtain what is more or less a rock-like product shaped and decorated according to need and preference. Whereas Nature reconsolidates clays by long-term diagenetic or metamorphic transformation processes, potters exploit a ‘short-cut’ of these processes that affects the state of equilibrium of the system being transformed thermally. This ‘short-cut’ is thought to be akin to the development of mineral-reaction textures resulting from disequilibria established during rapidly heated pyrometamorphic events (Grapes, 2006) involving contact aureoles or reactions with xenoliths. In contrast to most naturally consolidated clays, the solidified rock-like ceramic material inherits non-equilibrium and statistical states best described as ‘frozen-in’. The more or less high temperatures applied to clays during ceramic firing result in a distinct state of sintering that is dependent on the firing temperature, the duration of firing, the firing atmosphere, and the composition and grain-size distribution of the clay. -
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 .............................................................................................................................................................. -
Ackland Ceramics Guide
! ! CERAMICS!GUIDE! Ceramics:"objects"formed"from"moistened"clay"and"hardened"by"firing;"distinguished"by" permeability"and"firing"temperatures" • Earthenware:"Porous,"low<firing" • Stoneware:"Non<porous,"high<firing" • Hard<Paste"Porcelain:"Non<porous,"high<firing" Single!firing:"clay"mixture"and"glaze"reach"maximum"density"and"hardness"in"a"single"firing,"with" the"glaze"being"applied"directly"to"the"unfired"clay"beforehand" Biscuit!firing:"glazed"objects"can"also"undergo"multiple"firings,"the"first"being"the"firing"of"the" unglazed"(biscuit)"object;"helps"stabilize"a"work"before"a"glaze"or"painted"decoration"is"applied" Glost!firing:"fuses"glaze"to"an"object"that"has"already"been"biscuit<fired" Glaze:!natural"materials"applied"to"a"clay"object"(either"as"a"powder"or"mixed"with"water)," fusing"with"the"clay"when"fired;"makes"porous"ceramics"impervious"to"liquid;"also"used"on"non< porous"ceramics"for"purely"decorative"effects,"either"as"transparent"coating"or"colored"by"the" addition"of"various"metal"oxides;"comprised"of"ground"silica,"which"melts"to"create"a"glassy" surface,"as"well"as"(1)"an"alumina"stabilizer"to"increase"viscosity"and"(2)"a"mineral"flux"to"lower" the"silica’s"melting"point." Common!glaze!types:"distinguished"by"flux"material" th • Lead:"low<firing,"used"on"earthenware;"largely"discontinued"by"the"late"19 "century"due" to"dangers"of"prolonged"lead"exposure" • Tin:"lead"glaze"with"the"addition"of"tin"oxide,"resulting"in"an"opaque"white"surface;" originates"in"Middle"East,"9th"century;"European"tin<glazed"earthenware"classified"by" -
Colonial Archaeology: 070 333 Spring 2006 Prof C. Schrire Room 201
Colonial Archaeology: 070 333 Spring 2006 Prof C. Schrire [email protected] Room 201/202 RAB Phone: 932 9006 Course Outline: This course will teach the rudiments of identification and analysis of colonial artifacts dating from about 1600-1900 AD. Our teaching collection includes a variety of ceramics, pipes, glass and small finds. The course if taught largely by supervision and not lectures. Students will sort collections, draw objects, measure objects and identify them according to numerous criteria. Course Requirements: A prerequisite for this course is 070: 208, Survey of Historical Archaeology, normally taught in the Fall term. Students for whom this requirement was waived are expected to study a suitable textbook on the subject, such as Orser, C. 1995 Historical Archaeology and Deetz, J In small things forgotten. Students will attend one three hour class, once a week. During this time they will handle material, analyze it, and draw objects. Each student will need a clean writing pad or notebook, a pad of graph paper, pencils, colored pencils, eraser, a ruler, and a divider. There will be two exams, a midterm and final. Useful Texts: 1. Noel-Hume, I. 2001. The Artifacts of Colonial America 2. Fournier, Robert. Illustrated Dictionary of Practical Pottery. Paperback, 4th ed. 2000 Radnor Pa. Available at Amazon.com ($31.96) 3. Numerous additional sources will be present at class for used during the practicals. Colonial Archaeology: 070 330 Significant technical terms: (see Fournier 2000) Absorption: The taking up of liquid into the pores of a pot. The water absorption of a ceramic is an indicator of its degree of vitrification. -
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. -
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. -
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. -
Jack Doherty
STEP-BY-STEP Masterclass finished my ceramics training in Belfast in 1971 and with have worked as a potter for almost 50 years. Someone recently mentioned to me that it is unusual these days Ifor someone to spend their working life in the same job. While making pots has always been at the core of my life, ceramics has given me many opportunities beyond the studio. To learn new things, to travel and teach, and to be involved in projects that have created new opportunities Jack for makers to promote and sell their work. I was Chair of the Craft Potters Association (CPA) for a total of 12 years and was involved with the first CPA fair in Cheltenham and one of the small team who helped establish Earth and Fire at Rufford. I was a founder member and Chair of the Ceramic Art London organising Doherty committee. At that time, I felt very conscious of the need for a fresh platform to celebrate the expanding range of contemporary ceramics. A highlight of that period was my year as guest editor of Ceramic Review. In November 2019, I will be leading the first International Soda-firing Ceramics Festival at Fuping in Shaanxi, China. My work life (I refuse to call it a career) has for years been on a geographical downward slide. It started at the top of the map of the British Isles, I was born on the north coast of Northern Ireland, but have gradually slipped south via Kilkenny, Armagh and Herefordshire to Cornwall. I went to St Ives as the first lead potter and creative director at the refurbished Leach Pottery. -
MW-Catalogue-2017.Pdf
Maxwell & Williams Spot Colours Red PMS 186 Black c86 m85 y79 k100 CONTENTS DARK OPULENCE COLLECTION CASHMERE NOCTURNE 05 SWANK 11 SYMPHONY 15 TALISMAN 19 MUGS & COASTERS 22 FOCUS COLLECTION ELEMENTAL 29 MEZZE 33 ICHACHA 35 MUGS 37 RECONNECT COLLECTION ARTISAN 41 MUGS 47 NEW CLASSICS COLLECTION CASHMERE BLOEMS 51 EUPHEMIA HENDERSON 55 LILLE 59 COTTAGE KITCHEN 63 VITROMAX 67 WHITE BASICS 69 GALLEY 71 MUGS & COASTERS 73 “DARK OPULENCE EXPLORES THE ALLURE OF RICH DARK JEWEL COLOURS AND CONTRASTS THEM WITH CALMING WHITES. PRECIOUS METALLIC DARK EMBELLISHMENTS GIVE THE PIECES A MAGICAL GLAMOUR; THE NIGHT AND DAY CONTRAST MAKES FOR A STRIKING OPULENCE LAYERED TABLE SETTING.” CLAIRE CHILCOTT, CREATIVE DIRECTOR 2 DARK OPULENCE 3 YOUR STYLE. YOUR WAY. CASHMERE NOCTURNE Cashmere Nocturne is inspired by the harmony of opposites with a range of beautiful dinnerware in exquisite fine bone china. Each piece features a delicate gold pattern on black or white, giving the collection an elegantly opulent feel. EF0055 Nocturne Demi Cup & Saucer Black, 90ML EF0056 Nocturne Demi Cup & Saucer White, 90ML EF0044 Nocturne Cup & Saucer Black, 220ML EF0045 Nocturne Cup & Saucer White, 220ML EF0028 Nocturne Mug Black, 350ML EF0038 Nocturne Mug White, 350ML EF0048 Nocturne Bowl Black, 17cm EF0049 Nocturne Bowl White, 17cm EF0026 Nocturne Side Plate Black, 20cm EF0036 Nocturne Side Plate White, 20cm EF0025 Nocturne Dinner Plate Black, 27.5cm EF0035 Nocturne Dinner Plate White, 27.5cm EF0027 Nocturne Rim Bowl Black, 23.5cm EF0037 Nocturne Rim Bowl White, 23.5cm EF0046 Nocturne Dinner Set 12pc Black GB EF0047 Nocturne Dinner Set 12pc White GB ED0010 Nocturne Coaster Black Set of 6 GB ED0009 Nocturne Placemat Black Set of 6 GB 5 YOUR STYLE. -
TRADE UNIONISM and SECTARIANISM A1'k)NG DERRY SHIRT WORKERS 1920-1968 with Special Reference to the National Union of Tailors and Garment Workers
TRADE UNIONISM AND SECTARIANISM A1'K)NG DERRY SHIRT WORKERS 1920-1968 With Special Reference to the National Union of Tailors and Garment Workers A thesis submitted for the degree of Doctor of Philosophy in the Faculty of Science, University of London. by Andrew Robert Finlay Department of Anthropology University College London 1989 BIRL LONDIN. UNIV. -1•- ABSTRACT The problem at the heart of this study is: to what extent and in what ways was the development of trade unionism in the Derry shirt industry influenced by sectarianism? This problem and my approach to it were elaborated in contradistinction to existing theories of trade unionism in Northern Ireland. According to the main theory, developed most cogently within traditional Irish marxism, trade unionism was thwarted by sectarianism. I suggest that this theory has more to do with the reductionist and evolutionist assumptions of its authors than with social reality and argue that the relationship between trade unionism and sectarianism Is better understood with an approach in which it is recognised that both of these institutions are constituted through the actions of concrete individuals who are themselves consituted by society, and in which priority is given to the meanings which individuals ascribe to their actions and predicaments. My- study is based on interviews with a sample of retired union officials and activists. My respondants were keenly aware of the Catholic-Protestant dichotomy, but, contrary to what traditional Irish marxists would lead one to expect, they did not regard sectarianism as a significant problem until the 1950s, My analysis of union growth and structure 1920-1952 largely confirmed this view: union densities compared favourably with clothing workers in Britain, and the main factors underlying fluctuations in membership were more or less the same as elsewhere in Britain. -
Marguerite Wildenhain: Bauhaus to Pond Farm January 20 – April 15, 2007
MUSEUM & SCHOOLS PROGRAM EDUCATOR GUIDE Kindergarten-Grade 12 Marguerite Wildenhain: Bauhaus to Pond Farm January 20 – April 15, 2007 Museum & Schools program sponsored in part by: Daphne Smith Community Foundation of Sonoma County and FOR MORE INFORMATION ABOUT THE EXHIBITION OR EDUCATION PROGRAMS PLEASE CONTACT: Maureen Cecil, Education & Visitor Services Coordinator: 707-579-1500 x 8 or [email protected] Hours: Open Wednesday through Sunday 11:00 a.m. to 5:00 p.m. Admission: $5 General Admission $2 Students, Seniors, Disabled Free for children 12 & under Free for Museum members The Museum offers free tours to school groups. Please call for more information. SONOMA COUNTY MUSEUM 425 Seventh Street, Santa Rosa CA 95401 T. 707-579-1500 F. 707-579-4849 www.sonomacountymuseum.org INTRODUCTION Marguerite Wildenhain (1896-1985) was a Bauhaus trained Master Potter. Born in Lyon, France her family moved first to Germany then to England and later at the “onset of WWI” back to Germany. There Wildenhain first encountered the Bauhaus – a school of art and design that strove to bring the elevated title of artist back to its origin in craft – holding to the idea that a good artist was also a good craftsperson and vice versa. Most modern and contemporary design can be traced back to the Bauhaus, which exalted sleekness and functionality along with the ability to mass produce objects. Edith Heath was a potter and gifted form giver who started Heath Ceramics in 1946 where it continues today in its original factory in Sausalito, California. She is considered an influential mid-century American potter whose pottery is one of the few remaining. -
How to Identify Old Chinese Porcelain
mmmKimmmmmmKmi^:^ lOW-TO-IDENTIFY OLD -CHINESE - PORCELAIN - j?s> -ii-?.aaig3)g'ggg5y.jgafE>j*iAjeE5egasgsKgy3Si CORNELL UNIVERSITY LIBRARY THE WASON CHINESE COLLECTION DATE DUE 1*-^'" """"^*^ NK 4565!h69" "-ibrary 3 1924 023 569 514 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924023569514 'a4^(A<-^^ %//3 HOW TO IDENTIFY OLD CHINESE PORCELAIN PLATE r WHITE PORCELAIN "BLANC-DE-CHINE" PAIR OF BOWLS of pierced fret-work divided by five circular panels or medallions of raised figures in relief, supposed 10 represent the Pa-Sien or eight Immortals and the God of Longevity. Height, if in. Diameter, sfin. SEAL in the form of a cube surmounted by the figure of a lion Height, i^in. INCENSE BURNER, eight sided and ornamented by moulding in relief with eight feet and four handles. The sides have three bands enclosing scrolls in ancient bronze designs. At each angle of the cover is a knob; it is ornamented with iris and prunus, and by pierced spaces. The stand has eight feet and a knob at each angle ; in the centre is a flower surrounded by detached impressed scrolls, round the outside are similar panels to those on the bowl. Height, 4|in. Diameter of stand, 6f in. THE FIGURE OF A CRAB on a lotus leaf, the stem of which terminales in a flower. Length, 6| in. From Sir PV. fraiik^s Collection at the BritisJi Museum. S3 HOW TO IDENTIFY OLD CHINESE PORCELAIN BY MRS.