Ceramics by Jim Danisch
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Related Voices Hamada: Three Generations
Related Voices HAMADA: Three Generations PUCKER GALLERY BOSTON Tomoo Hamada Shoji Hamada Bottle Obachi (Large Bowl), 1960-69 Black and kaki glaze with akae decoration Ame glaze with poured decoration 12 x 8 ¼ x 5” 4 ½ x 20 x 20” HT132 H38** Shinsaku Hamada Vase Ji glaze with tetsue and akae decoration Shoji Hamada 9 ¾ x 5 ¼ x 5 ¼” Obachi (Large Bowl), ca. 1950s HS36 Black glaze with trailing decoration 5 ½ x 23 x 23” H40** *Box signed by Shoji Hamada **Box signed by Shinsaku Hamada All works are stoneware. Three Voices “To work with clay is to be in touch with the taproot of life.’’ —Shoji Hamada hen one considers ceramic history in its broadest sense a three-generation family of potters isn’t particularly remarkable. Throughout the world potters have traditionally handed down their skills and knowledge to their offspring thus Wmaintaining a living history that not only provided a family’s continuity and income but also kept the traditions of vernacular pottery-making alive. The long traditions of the peasant or artisan potter are well documented and can be found in almost all civilizations where the generations are to be numbered in the tens or twenties or even higher. In Africa, South America and in Asia, styles and techniques remained almost unaltered for many centuries. In Europe, for example, the earthenware tradition existed from the early Middle Ages to the very beginning of the 20th century. Often carried on by families primarily involved in farming, it blossomed into what we would now call the ‘slipware’ tradition. The Toft family was probably the best known makers of slipware in Staffordshire. -
The Leach Pottery: 100 Years on from St Ives
The Leach Pottery: 100 years on from St Ives Exhibition handlist Above: Bernard Leach, pilgrim bottle, stoneware, 1950–60s Crafts Study Centre, 2004.77, gift of Stella and Nick Redgrave Introduction The Leach Pottery was established in St Ives, Cornwall in the year 1920. Its founders were Bernard Leach and his fellow potter Shoji Hamada. They had travelled together from Japan (where Leach had been living and working with his wife Muriel and their young family). Leach was sponsored by Frances Horne who had set up the St Ives Handicraft Guild, and she loaned Leach £2,500 as capital to buy land and build a small pottery, as well as a sum of £250 for three years to help with running costs. Leach identified a small strip of land (a cow pasture) at the edge of St Ives by the side of the Stennack stream, and the pottery was constructed using local granite. A tiny room was reserved for Hamada to sleep in, and Hamada himself built a climbing kiln in the oriental style (the first in the west, it was claimed). It was a humble start to one of the great sites of studio pottery. The Leach Pottery celebrates its centenary year in 2020, although the extensive programme of events and exhibitions planned in Britain and Japan has been curtailed by the impact of Covid-19. This exhibition is the tribute of the Crafts Study Centre to the history, legacy and continuing significance of The Leach Pottery, based on the outstanding collections and archives relating firstly to Bernard Leach. -
Embodied Pedagogy: Examples of Moral Practice from Art Education
EMBODIED PEDAGOGY: EXAMPLES OF MORAL PRACTICE FROM ART EDUCATION Ruth Boyask University of Canterbury, New Zealand Educators operate today in a climate that favours instrumental means to achieve economically rational ends. This emphasis conflicts with the moral purpose of education, which is concerned ostensibly with widening participation and increasing personal liberty. Framed by this potential conflict is an investigation into the activity of historical figures in New Zealand art education to reveal how their deliberate activities negotiated the dominant discourses of their times, and how they shifted cultural production and understandings towards divergent social ends. These historical cases provide insight into possibilities for contemporary educators. Teaching and learning occur both within and outside of educational institutions, policies and sectors. Whilst this premise may not appear particularly innovative or surprising, taken seriously it has the potential to destabilise existing orders of educational practice. It indicates that the creation of knowledge as it is experienced does not necessarily conform to generalised policies nor does it occur within the formal institutions and educational sectors that we have constructed for its legitimation and continuance. However, this premise conflicts with basic assumptions operating currently within the discipline of education, where educational knowledge is positioned in relation to specific and discrete epistemological constructions. This article is developed from a fundamentally phenomenological position, whereby social discourses are constructed through embodied interaction and dialogue, resulting in social practices such as pedagogy, which are ritualised and re-enacted throughout our institutions. The discussion claims that pedagogies have moral implications in that they expand or inhibit social participation and personal liberty, and therefore they encourage educators, when determining a course of action, to deliberate on how their practices intersect with educational structures. -
Paul Soldner Artist Statement
Paul Soldner Artist Statement velutinousFilial and unreactive Shea never Roy Russianized never gnaw his westerly rampages! when Uncocked Hale inlets Griff his practice mainstream. severally. Cumuliform and Iconoclastic from my body of them up to create beauty through art statements about my dad, specializing in a statement outside, either taking on. Make fire it sounds like most wholly understood what could analyze it or because it turned to address them, unconscious evolution implicitly affects us? Oral history interview with Paul Soldner 2003 April 27-2. Artist statement. Museum curators and art historians talk do the astonishing work of. Writing to do you saw, working on numerous museums across media live forever, but thoroughly modern approach our preferred third party shipper is like a lesser art? Biography Axis i Hope Prayer Wheels. Artist's Resume LaGrange College. We are very different, paul artist as he had no longer it comes not. He proceeded to bleed with Peter Voulkos Paul Soldner and Jerry Rothman in. But rather common condition report both a statement of opinion genuinely held by Freeman's. Her artistic statements is more than as she likes to balance; and artists in as the statement by being. Ray Grimm Mid-Century Ceramics & Glass In Oregon. Centenarian ceramic artist Beatrice Wood's extraordinary statement My room is you of. Voulkos and Paul Soldner pieces but without many specific names like Patti Warashina and Katherine Choy it. In Los Angeles at rug time--Peter Voulkos Paul Soldner Jerry Rothman. The village piece of art I bought after growing to Lindsborg in 1997. -
Bernard Leach and British Columbian Pottery: an Historical Ethnography of a Taste Culture
BERNARD LEACH AND BRITISH COLUMBIAN POTTERY: AN HISTORICAL ETHNOGRAPHY OF A TASTE CULTURE by Nora E. Vaillant B. A. Swarthmore College, 1989 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts in The Faculty of Graduate Studies (Department of Anthropology and Sociology) We accept this thesis as conforming to the required standard The University of British Columbia October 2002 © Nora E. Vaillant, 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of J^j'thiA^^ The University of British Columbia Vancouver, Canada Date DE-6 (2/88) ABSTRACT This thesis presents an historical ethnography of the art world and the taste culture that collected the west coast or Leach influenced style of pottery in British Columbia. This handmade functional style of pottery traces its beginnings to Vancouver in the 1950s and 1960s, and its emergence is embedded in the cultural history of the city during that era. The development of this pottery style is examined in relation to the social network of its founding artisans and its major collectors. The Vancouver potters Glenn Lewis, Mick Henry and John Reeve apprenticed with master potter Bernard Leach in England during the late fifties and early sixties. -
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. -
Over-The-Summer Issue JUNE, 1963 50C It's in the National
Over-the-Summer Issue JUNE, 1963 50c It's in the national g spotlight! The New CM Handbook on Ceramic Pro _< 64 Pages of Instruction * Over 200 Illustrations * 3-Color Cover * 81kxll Format From the wealth of material presented in CERAMICS Here's A Partial List of the Projects Included MONTHLY during the past decade, the editors have se- CLAY TOYS THAT MOVE ...... by Earl Hassenpflug lected an outstanding collection of articles by recognized COIL BUILDING VASE .......... by Richard Peeler authorities in the ceramic world. Each of these articles CLAY WHISTLES .................. by Helen Young has been carefully edited for presentation in book form HAND-FORMING USING A PADDLE ___ by Don Wood and is complete with large, clear photographs and step- LEAF-PRESSED POTTERY ........ by-step text. by Edris Eckhardt BUILT-IN SLAB HANDLES ........ by Irene Priced at only two dollars per copy, this stimulating Kettner compilation will find wide circulation among hobbyists, CERAMIC SCREENS ............ by F. Carlton Ball craft groups and schools. BOTTLE INTO A TEAPOT ....... by Tom Spencer AN INDOOR FOUNTAIN ............ by John Kenny z ~ HANGING PLANTERS .............. by Alice Lasher SAND BAG MOLDS .............. by Louise Griffiths CERAMICS MONTHLY BOOK DEPT. -mEt USE A STONE FOUNDATION .... by Lucia B. Comins 4175 N. HIGH ST., COLUMBUS, OHIO SEVEN DECORATING TECHNIQUES ___by Karl Martz DECORATION ON GLYCERIN ....... by Marc Bellaire Please send me ...... copies of the CERAMIC PROJECTS BALLOONS AS MOLDS --- by Reinhold P. Marxhausen Handbook @ $2 per copy. (CM pays postage.) CARVED GREENWARE MASKS .... by Phyllis Cusick ROLLING PIN "- ~ME SCULPTURE .......... by John Kenny KACHINA DOLL JEW-ELRY ......... by Peg Townsend ADDR~q~ CHILDREN OBSERVED ............. -
Craft Horizons AUGUST 1973
craft horizons AUGUST 1973 Clay World Meets in Canada Billanti Now Casts Brass Bronze- As well as gold, platinum, and silver. Objects up to 6W high and 4-1/2" in diameter can now be cast with our renown care and precision. Even small sculptures within these dimensions are accepted. As in all our work, we feel that fine jewelery designs represent the artist's creative effort. They deserve great care during the casting stage. Many museums, art institutes and commercial jewelers trust their wax patterns and models to us. They know our precision casting process compliments the artist's craftsmanship with superb accuracy of reproduction-a reproduction that virtually eliminates the risk of a design being harmed or even lost in the casting process. We invite you to send your items for price design quotations. Of course, all designs are held in strict Judith Brown confidence and will be returned or cast as you desire. 64 West 48th Street Billanti Casting Co., Inc. New York, N.Y. 10036 (212) 586-8553 GlassArt is the only magazine in the world devoted entirely to contem- porary blown and stained glass on an international professional level. In photographs and text of the highest quality, GlassArt features the work, technology, materials and ideas of the finest world-class artists working with glass. The magazine itself is an exciting collector's item, printed with the finest in inks on highest quality papers. GlassArt is published bi- monthly and divides its interests among current glass events, schools, studios and exhibitions in the United States and abroad. -
New Zealand Potter Vol 23/1 Autumn 1981
new zealand potter vol 23/1 autumn 1981 Contents Potters Symposium 2 Don Reitz 3 The New Society 4 John the potter 5 Frank Colson 6 The Raku firings 7 The National Exhibition 8 Crystal gazing 14 Saint Aubyns Potters 16 Honour for potter 22 Kelesita Tasere from Fiji 23 Baroque Politocaust 24 Build your own filter press 26 Air freighting 26 Salute to Bacchus 28 A philosophy of pottery, a standard for judging 30 Waimea Potters. The post-sales-tax Dynasty 33 Royce McGlashen 34 Bumished and primitive fired 37 New Zealand Potter is a non-profit making magazine published twice annually. Circulation is 6,500. The annual subscription is $NZ5.00, for Australia $A6.00, Canada and the United States $US7.00, Britain £4.00 postage included. New Subscriptions should include name and address of subscriber and the issues required. Please mark correspondence ”Subscriptions”. Receipts will not be sent unless asked for. A renewal form is included in the second issue each year. This should be used without delay. It is the only indication that the magazine is still required. Advertising rates Full page 180 mm wide X 250 mm high $280 Half page 180 mm X 122 mm high $154 Quarter page 88 mm wide X 122 mm high $85 Spot 88 mm wide X 58 mm high $46 Offset printing. Unless finished art work ready for camera is supplied by advertiser, the cost of preparing such copy will be added to the above rates. editor: Margaret Harris layout and design: Nigel Harris editorial committee: John Stackhouse, Nigel Harris, Audrey Brodie, Auckland correspondent Barry Brickell moving his terra cottas on the Driving Creek Pottery railway. -
Ceramic Arts Network
~i~ ~ ~ i ~ ~ ~ o, 4 The first thing you do when you get a Skutt Kiln, is curl up with a good book. It's jam=packed with information. A total of 28 pages of information on how to operate and care for your Skutt Kiln. There are sections on loading, firing, "trouble shooting" and repairs. We even tell you how to uncrate it. It's illustrated with 51 photos and drawings. And it's free. 2618 S.E. Steele S and, Oregon 97102 At last! Here is the pottery handbook we have been waiting to publish for many years! POTTERY STEP-BY-STEP By Henry Trevor Here is the complete guide on the techniques of pottery that we have always wanted to publish. Not only does this unique handbook provide a superb, step-by-step photo-and-text descrip- tion of every stage of pottery making, from clay to finished pot; this exciting book presents valuable reference material and a magnificent gallery of pottery masterpieces. The author de- scribes the characteristics of clay; preparing clay for use; ways of making pottery without a wheel--slab, pinch, coil, and similar methods; how to draw a pot on a wheel; how to trim, handle, and decorate the finished pot; how to glaze and fire the pot. Containing directories of schools, museum collections, craft organizations, pottery suppliers, and a glossary of pottery terms, no book has ever covered the subject as thoroughly and effec- tively as Pottery Step-By-Step. Students, teachers, amateurs, and professionals will find this new guide instructive and inspiring. -
Leach Pottery Announce Collaborative Project to Restore Documentary Film Compendium on Bernard Leach and the Mingei Movement
Leach Pottery Announce Collaborative Project to Restore Documentary Film Compendium on Bernard Leach and the Mingei Movement The Leach Pottery and Marty Gross Film Productions, Canada, announce their collaboration in the restoration and re-release of historically important films from the 1930’s to the 1970’s which profile key figures in the history of The Leach Pottery and the Japanese Mingei Movement. The Great Britain Sasakawa Foundation have provided a generous £5000 donation in support of this unique project, and following this initial funding further funding has been pledged or received from The Museum of Ceramic Art New York, Ceramica Stiftung Basel, Warren and Nancy MacKenzie, scholar Dr. Paul Griffith and art collector Dr. John Driscoll. Film subjects include Bernard Leach, Shoji Hamada, Soetsu Yanagi, Janet Leach, William Marshall and others. Bernard Leach, founder of The Leach Pottery, was an important figure in the history of contemporary ceramics and a key member of the group that founded the Mingei Movement. His writings on Japan and its ceramic traditions are central documents in the history of the Modern craft movement. Over the neXt three years, the project will restore and digitize important and never before seen footage which documents the studies of Bernard Leach and his colleagues in Japan as they developed ideas that became central to the Mingei movement. The resulting compendium will consist of DVDs and a booklet containing the following films and new documentation: ▪ Trip to Japan, filmed by Bernard Leach, 1934-35 ▪ Mashiko Village Pottery, Japan 1937 ▪ Bernard Leach visit to San Francisco, 1950 ▪ The Art of the Potter (1971), by David Outerbridge and Sidney Reichman ▪ Excerpts from 10 hours of unseen film footage from The Art of the Potter ▪ An exclusive Video Interview by Marty Gross with Mihoko Okamura, D.T. -
A Potters Book Free Ebook
FREEA POTTERS BOOK EBOOK Bernard Leach | 372 pages | 23 Feb 2012 | FABER & FABER | 9780571283675 | English | London, United Kingdom A Potter's Book Harry Potter is a series of seven fantasy novels written by British author J. K. Rowling. The novels chronicle the lives of a young wizard, Harry Potter, and his friends Hermione Granger and Ron Weasley, all of whom are students at Hogwarts School of Witchcraft and Wizardry. A Potter's Book by Bernard Leach with introductions by Soyetsu Yanagi and Michael Cardew. This is the first treatise by a potter on the workshop traditions which have been handed down by Koreans and Japanese from the greatest period of Chinese ceramics in the Sung dynasty. This now famous book was the first treatise to be written by a potter on the workshop traditions handed down by Koreans and Japanese from the greatest period of Chinese ceramics in the Sung dynasty. It deals with four types of pottery: Japanese raku, English slipware, stoneware and oriental porcelain. Potters Book by Leach Bernard A Potter Book by Bernard Leach. Topics IIIT Collection digitallibraryindia; JaiGyan Language English. Book Source: Digital Library of India Item In A Potter's Workbook, renowned studio potter and teacher Clary Illian presents a textbook for the hand and the mind. Her aim is to provide a way to see, to make, and to think about the forms of wheel-thrown vessels; her information and inspiration explain both the mechanics of throwing and finishing pots made simply on the wheel and the principles of truth and beauty arising from that traditional method.