DOCSLIB.ORG

Ceramics Monthly William C

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ceramics Monthly William C 2 Ceramics Monthly William C. Hunt........................................ Editor Barbara Tipton ...................... Associate Editor Robert L. Creager ........................ Art Director Ruth C. Butler.............................. Copy Editor Valentina Rojo ....................... Editorial Assistant Mary Rushley............... Circulation Manager Connie Belcher .... Advertising Manager Spencer L. Davis .............................. Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year SI 8, two years $34, three years $45. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art and craft are welcome and will be con­ sidered for publication. A booklet describing procedures for the preparation and submis­ sion of a manuscript is available upon re­ quest. Send manuscripts and correspondence about them to The Editor, Ceramics Month­ ly, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Ap­ ple Macintosh computer system. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index. A 20-year subject index (1953-1972) covering Ceramics Monthly feature articles, Sugges­ tions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s arti­ cles are indexed in the December issue. Copies and Reprints:Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Copies in micro­ fiche are also available from Bell & Howell, Micro Photo Division, Old Mansfield Road, Wooster, Ohio 44691. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Copyright © 1985 Professional Publications, Inc. All rights reserved December 1985 3 4 C eramics Monthly Ceramics Monthly Volume 33, Number 10 December 1985 Feature Articles A Rational View of Wood Ash by Robert Tichane .............................................. 24 Ceramic Criticism................................................... 26 Patrick Crabb .......................................................... 29 An Architectural Clay Studio by Peter King...................................................... 30 Kentucky Clay......................................................... 37 Judy Trim................................................................. 38 The National Craft Showroom by Leta Clark ...................................................... 40 Faenza Prizewinners ’85......................................... 44 Bad Manners by Marilyn Lysohir............................................. 48 Departments Letters to the Editor.................................................. 7 Questions.................................................................. 11 Itinerary.................................................................... 13 Where to Show......................................................... 16 Suggestions............................................................... 19 Comment: Ceramic Art and Communication by Rodger Wood.................................................. 21 News & Retrospect.................................................. 53 Technical: Evaluating Clay Bodies by Robert Schmitz............................................... 69 New Books................................................................ 75 Classified Advertising............................................. 76 Film & Video............................................................ 77 Ceramics Monthly Index: January-December 1985.................................... 79 Index to Advertisers................................................ 80 The Cover Detail of “Bad Manners,” a life-size installation sculpture by Pullman, Washington, ceramist Marilyn Lysohir. Handbuilt food and flowers, thrown plates, cups, saucers and candlesticks were underglazed, clear glazed and fired to Cone 04 in an electric kiln. Figures were slab built, coated with colored terra sigillata, burnished and fired to Cone 04 in a gas kiln; chairs and table substructure are made of wood. For more information and a view of the whole installation, see the article beginning on page 48. Photo: Rick Semple. December 1985 5 6 Ceramics Monthly Letters Bartering Your Work trade. After I had won the “Golden Hands” was scraping clay under his fingernails as he Well, well. I just returned from Japan award two years in a row, they were worried weighed it. Later, he would clean his fin­ to find that Ross Murphy, famed for his widely that I would win it a third time and they gernails and bank his “profit.” No one knows unread but widely commented on article would have to retire the trophy. Naturally, just how much he got away with. dealing with selling (“How to Sell Your Pots this caused a bit of resentment and a number It was a world gone mad. Clay! Clay! Clay! Profitably,” June/July/August, 1984), hasof death threats. It was all that mattered. With each fresh finally seen the light and given in to the sur­ Well, I was worried; I admit it. I’m just strike the whole region broke out in a new vival instincts of the egalitarian potters’ com­ a potter; I have feet of clay. At least it looks epidemic of clay fever. munity. The IRS will undoubtedly do a lot like it until I wash them. Everyone was occupied with either getting of auditing of potters because of “Bartering I heard that the diggings were good in it, gambling it or hiding it away. One old Your Work” (November CM). Knowing the New York, so thither I slunk. I had several miner became a recluse; we used to see him U.S. government and its machinations, they good years there, but then the clay ran out. scurrying down alleys, searching through trash will want to check up on everyone who has As luck would have it, I heard they had cans, and collecting old newspapers and bot­ read this article. So if you haven’t read it, struck clay in Kansas. I painted my wagon tles, which he piled up all around his house. you’re safe; but if you have, just pretend thatand off I went, arriving right at the peak of Everyone thought he didn’t have a dime. He you can’t read—remember, you’re an artist the clay rush. I wish you could have seen it. disappeared finally, and after a while they and just visual. Prospectors and miners, camp followers, all figured he must have gone off and died, But back to my main point: It was good whiskey peddlers, cardsharps and swindlers, or was bushwhacked. They searched his house to see Murphy do a double back flip with a and all with that greedy glint in their eyes, and made a surprising discovery: he didn’t full twist out of the neocapitalistic, profit- all believing they were going to strike it rich. have a dime. oriented, nonfunk marketing strategy to be­ I bought me an outfit and soon had staked That’s the way it was: some made it big come a worth-based, new-right-survivalistic, three claims. Two of them didn’t pan out, and some didn’t. well-groomed, ceramics accountant with and I sold the third for a pittance. If I had Of course, I finally got lucky and won the nonsocialized dental care. The only compa­ only worked that claim two more days. .. but Claymore Mine in a showdown game of Cra­ rable ceramics gymnastics which comes to what good does it do to ponder the impon­ zy Eights. I’ve never tried to work it real mind is the time I watched Herbert Fliffis derable, to think the unthinkable, to screw hard, being content to produce just enough try to modify his potter’s wheel. Fliffis had with the inscrutable? Folly, I say! But if Ito keep the sheriff from the door. just received plans from John Branney for had just dug a little more, do you think I Wellsir, I guess I saw it all. When the the use of an AC, sync-generated polarized would still be here? No, I would be in Monte bottom dropped out, everyone left for the next motor to drive a kick wheel. Herbert and his Carlo, or Sydney or Paris instead! boomtown, still with that hopeful glaze in friend, Big Daddy Don Grogletts, decided Of course others were hitting respectable their eyes. They all took off, that is, except that if it worked for that type motor it would veins. I’ve seen many miners come into town those that are sleeping peacefully in Potter’s be better to use an old dragster’s alternator. with lumps of clay as big as your fist. The Field. Fliffis only made two errors. First, he forgot saloons were booming. I was there the day I’m all done with chasing rainbows. So to remove the alternator from the super­ that George van Loon, now known as “The what if they call me “Old-Timer.”
Load more

Recommended publications
  • The Dialogue of Craft and Architecture
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses July 2015 The Dialogue of Craft and Architecture Thomas J. Forker University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Architectural Technology Commons, and the Cultural Resource Management and Policy Analysis Commons Recommended Citation Forker, Thomas J., "The Dialogue of Craft and Architecture" (2015). Masters Theses. 197. https://doi.org/10.7275/7044176 https://scholarworks.umass.edu/masters_theses_2/197 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE DIALOGUE OF CRAFT AND ARCHITECTURE A Thesis Presented by THOMAS J. FORKER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARCHITECTURE MAY 2015 DEPARTMENT OF ARCHITECTURE THE DIALOGUE OF CRAFT AND ARCHITECTURE A Thesis Presented by THOMAS J. FORKER Approved as to style and content by: ___________________________ Kathleen Lugosch, Chair ___________________________ Ray Mann, Associate Professor ____________________ Professor Kathleen Lugosch Graduate Program Director Department of Architecture ____________________ Professor Stephen Schreiber Chair Department of Architecture DEDICATION This thesis is dedicated to my parents, for their love and support. ACKNOWLEDGMENTS I would like to thank my professors Kathleen Lugosch and Ray Mann. They have been forthright with their knowledge, understanding, and dedicated in their endeavor to work with the students in the department and in the pursuit of a masters of architecture degree with spirit and meaning.
    [Show full text]
  • AEAH 4840 TOPICS, CRAFT 4840. Topics in the History of Crafts. 3
    Instructor: Professor Way Term: Spring 2017 Office: Art Building 212 Class time: Monday 5:00-7:50pm Office Hours: please schedule in advance through email Meeting Place: Art 226 Monday, 4:00-5:00, Tuesday 4:00-5:00, Thursday 4:00-5:00 Email: [email protected] – best way to reach me AEAH 4840 TOPICS, CRAFT 4840. Topics in the History of Crafts. 3 hours. Selected topics in the history of crafts. Prerequisite(s): ART 1200 or 1301, 2350 and 2360, or consent of instructor. TOPIC – CRITICAL HISTORIES OF CRAFT AND ART HISTORY This course explores how history of art survey texts represent and tell us about craft—what do they have to say about craft, and how do they say it? We are equally interested in where and how these art history survey texts neglect craft. What is missing when histories of art do not include craft? Additionally, we want to think about history of craft texts. Should they include the same agents and situations we find in histories of art, such as famous makers and collectors, the rich and the royal, politics at the highest level, and economics, power, and desire? Also, is it possible to trace influence in craft as we expect to find it discussed in histories of art? What would influence explain about craft? Should a history of craft include features we don’t expect to find in histories of art? Overall, what scholarship and methods make a history of craft? These types of questions ask us to notice standards and expectations shaping knowledge in academic fields, such as art history and the history of craft.
    [Show full text]
  • Crossing the Divide Between Art and Craft
    Journal of Undergraduate Research at Minnesota State University, Mankato Volume 10 Article 4 2010 Crossing the Divide between Art and Craft Kristin Harsma Minnesota State University, Mankato Follow this and additional works at: https://cornerstone.lib.mnsu.edu/jur Part of the Art and Design Commons Recommended Citation Harsma, Kristin (2010) "Crossing the Divide between Art and Craft," Journal of Undergraduate Research at Minnesota State University, Mankato: Vol. 10 , Article 4. Available at: https://cornerstone.lib.mnsu.edu/jur/vol10/iss1/4 This Article is brought to you for free and open access by the Undergraduate Research Center at Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Journal of Undergraduate Research at Minnesota State University, Mankato by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Harsma: Crossing the Divide between Art and Craft Crossing the Divide Between Art and Craft Kristin Harsma Minnesota State University Faculty Mentor: Curt Germundson April 6, 2010 Published by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato, 2010 1 Journal of Undergraduate Research at Minnesota State University, Mankato, Vol. 10 [2010], Art. 4 Crossing the Divide Between Art and Craft Kristin J. Harsma (Arts and Humanities) Curt Germundson, Faculty Mentor (Arts and Humanities) Throughout history, various qualities of art have gone in and out of fashion, works declared high art being considered most important. However, there has always been a hierarchy of not only subjects of art but also of media used to create art.
    [Show full text]
  • The Evolution of Craft in Contemporary Feminist Art
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2010 The volutE ion of Craft in onC temporary Feminist Art Carolyn E. Packer Scripps College Recommended Citation Packer, Carolyn E., "The vE olution of Craft in onC temporary Feminist Art" (2010). Scripps Senior Theses. Paper 23. http://scholarship.claremont.edu/scripps_theses/23 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. The Evolution of Craft in Contemporary Feminist Art By: Carolyn Elizabeth Packer SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS Professor Susan Rankaitis Professor Nancy Macko May 3, 2010 This Senior Project is dedicated to my Grandmother, Gloria Carolyn Reich. Thank you for giving me the invaluable skills that have inspired my art and being the model for woman I strive to become. Thank you also to Professor Susan Rankaitis for inspiring my dedication to this project, and to Professor Nancy Macko for being such a supportive and encouraging advisor, thesis reader, and role model. 2 Women’s art is rooted in a long history of traditional craft practices. It is said that during the times of male-dominated society, if a woman had any brains she would explore her creativity through quilting, clothing design and needlework; creating utilitarian objects for the household to serve her husband and family. Being a part of an extended family lineage of talented and inspired craftswomen has provoked me to analyze the evolution of craft from a domestic practice into a higher form of feminist art.
    [Show full text]
  • Fabergé Museum, St. Petersburg, Russia October, 8-10, 2015 International Museum - Event Program
    Fabergé Museum, St. Petersburg, Russia October, 8-10, 2015 International Museum - Event Program Section I. Fabergé’s Lapidary Art • Tatiana Muntian. Fabergé and His Flower Studies • Alexander von Solokoff. Rock Crystal Mushrooms by Fabergé • Valentin Skurlov. The Range of Products and Precious Stones in Fabergé’s Stone-Cutting Production (1890-1917) • Galina Korneva and Tatiana Cheboksarova. Stone Carvings in the Collection of the Great Duchess Maria Pavlovna • Pavel Kotlyar. Alexander Palace and the Fabergé Firm • Dmitriy Krivoshei. Stone-cut Objects and Clients of the Fabergé Company in 1909-1916’s (Based on General Ledger) • Svetlana Chestnykh. History of Hardstone Figure of Kamer-Kazak N.N. Pustynnikov Section II. Russian Lapidary Art in the 19th-Early 20th Centuries • Evgeniy Lukianov. Precious and Semi-precious Stones in Works of the Sazikov Firm (1850- 1880’s) • Andreiy Gilodo. Lapidary Art of Soviet Russia in 1920-1930’s • Ludmila Budrina. By Order of Mr. Governor: Ekaterinburg Lapidary Factory Items from 1880- 1890’s Made from Non-Chancery Designs • Natalia Borovkova. Works of the Ekaterinburg Lapidary Factory in 1870-1880's Commissioned by His Imperial Majesty's Own Chancery • Mariya Osipova. Stone Carvings of the Bolin Firm • Aleksandra Pestova. History of West Ural’s Stone Craft (1830-1930’s). Influence of Ekaterinburg Stone Carvers and Fabergé’s Craftsmen Section III. Origin of Russian Jeweler’s Art • Annette Fuhr. The Story of Idar-Oberstein, One of the Most Important Towns in the Gemstone World • Max Rutherston. Netsuke • Olga Alieva. Prototypes of Modern Ural Hardstone Sculpture • Raisa Lobatckaya. Siberian Ethnic Motives in Works of Modern Jewelers • Ekaterina Tarakanova.
    [Show full text]
  • Stoneware Craft of Patharkatti Village, Part-VII-A, Vol-IV, Bihar
    CENSUS OF INDIA 1961 VOLUME IV BIHAR PART VII-A-NUMBER I Craft Survey Report on STONEWARE CRAFT of Patharkatti Village (District Gaya) j ,,!" 0 .... \.- .J" -:i~ _~', '''~,,-... ::,...:.:~:,:;:> Field Investigation and First Drtift by SAILESHWAR PRASAD SENIOR TECHNICAL ASSISTANT OFFICE OF THE REGISTRAR GENERAL, INDIA Editor S. D. PRASAD OF THE INDIAN ADMINISTRATIVE SERVICE SUPERINTENDENT OF CENSUS OPERATIONS, BIHAR 1961 CENSUS PUBLICATIONS, BIHAR (All the Census Publications of this State will bear Vol. no. IV) Central Government Publications PART I-A(i) General Report (Chapters I to IX)* PART I-A(ii) General RepOrt (Chapters X to XII)t PART I-B Report on Vital Statist,jes of Bihar, 1951-60 PART 1-0 Subsidiary Tables. PAR'{' II-A General Population Tables. PART II-B(i) Economic• Tables (B-1 to B-IV and B-VII). T'ART II-B(ii) Ecomonic Tables (B-V, B-VI, B-VIII and B-IX)* PART II-C Social and Cultural Tables. ]>A:RT II-D Migration Tables* PART III(i) Household Economic Tables (B-X to B-XIV)* PART III(ii) Household Economic Tables (B-XV to B-XVII)* PART IV-A Report on Housing and Establishment,s. PART IV-B Housing and Establishment Tables* PART V-A Special Tables for Scheduled Castes and Schedukd Tribfb* PART V-B Ethnographic Notes on Scheduled Castes and Scheduled Tribes PART VI Village Surveys:!: (Monographs on 32 selected villages) PAR.T VII-A Selected Crafts of Bihar•• PART VII-B Fairs and Festivals of Bihart PART VIII-A Administration Report on Enumerations* } (Not for ,ale) PART VIII-B Administration Report on Tabulationt PART IX Census Atlas of Bihar* PART X Special Migration Tablest Sttte Government Publications 17 Volumes of District Census Handbooks.
    [Show full text]
  • CRAFT in Americacommunity: Show Me
    CRAFT IN AMERICAcommunity: show me Preview Craft forms known to us to today would not exist if it were not for the artists. For thousands of years they have carried on tradi- tions; some remain true to long established practice while others add their own twist. In this section of Educator Guide: Com- munity, students will learn that artists such as Mary Jackson and instructors at craft schools like Penland School of Craft have an innate desire to share what they have learned. Artists and schools like these function with the understanding that in order for craft traditions to exist in the future, they must share what they know. They must teach others. Featured Artists Penland School of Craft (fiber/Community) Mary Jackson (basket maker/Memory) Related Artists Mira Nakashima (wood/Landscape) Denise Wallace (jewelry/Community) 1 contents show me Introduction 5 Penland School of Craft 6 Mary Jackson 7 The Craft Connection 8 Craft in Action 9 Craft in the Classroom 10 Make 11 Worksheets 12 Additional Web Resources 36 Credits & Copyright 37 2 education guide information Craft in America, Inc. Craft In America Inc. is a non-profit organization dedicated to the exploration of craft in the United States and its impact on our nation’s cultural heritage. The centerpiece of the company’s efforts is the production of a nationally broadcast television documentary series celebrating American craft and the artists who bring it to life. The project currently includes a three-part television documentary series supported by CRAFT IN AMERICA: Expanding Traditions, a nationally touring exhibition of exceptional craft objects, as well as a companion book, and a comprehensive Web site.
    [Show full text]
  • Torrance Public Library Presents: Button Moon Collage “Take and Make” Adult Craft Create a Unique Moon Picture Using Card S
    Torrance Public Library Presents: Button Moon Collage “Take and Make” Adult Craft Create a unique moon picture using card stock, a label to create a sticky area, and a variety of buttons. Celebrate International Observe the Moon Night Supplies Provided: on September 26, 2020 Paper with moon outline by making Moon Art using this craft kit! Full page label sheet Buttons and sequins NASA invites you to learn You Will Need to more about lunar science and Provide: our connection to the moon in Scissors & Pencil this worldwide event. For more ways to participate safely from home visit: https://moon.nasa.gov/observe CAUTION 3 THE LABEL IS VERY STICKY. BE CAREFUL NOT TO PLACE STICKY 1 2 SIDE ON TABLE. ONCE PLACED, IT CANNOT BE MOVED. 4 Placing the label white side down, remove one corner of the backing from the label. CAREFULLY place the black Cut out the moon shape Trim the edges of the label paper on top of the sticky printed on the black card- so it is smaller than the label starting in one corner. Slowly remove the rest of stock paper. black paper, but will cover the label backing and press the moon cutout. (Save black paper down on the these strips to make stars) sticker. 5 6 7 8 Create stars by drawing Create a design of large and them on the backing side of small buttons. Add some of the extra label strips. Cut Begin adding buttons to the your own buttons or beads. Enjoy your moon picture! out the stars, peel off the sticky area covering the moon.
    [Show full text]
  • CHAPTER 14 the Craft Media
    CHAPTER 14 ___________________________ The Craft Media The craft media have been distinguished from the fine arts because they are used to make functional objects. Functional objects are objects that are intended for everyday use, and that serve a utilitarian purpose. These objects can include container vessels, eating utensils, weapons, clothing, jewelry, textiles, etc. The five main types of craft media are ceramic, metal, glass, wood and fiber. All of these objects provide the same basic function – they are cups. They hold or contain fluid or other matter. The visual design and treatment of these different functional objects engages us in unique ways, and suggests purposes for these objects that go beyond the functional task of holding liquid- with the exception of the plain white paper cup. We all rely on functional objects to aid us in everyday tasks. Functional objects that seem commonplace today, that we may take for granted, each represent a technological innovation that allowed for greater comfort, protection, and other essential activities. When you consider the design of a functional object, it Function must satisfy certain requirements for it to be functional. (For example, a cup will only work if it is able to hold liquid – it would not function properly if it was full of holes or + cracks.) Artists use the craft media to make objects that are not Art only useful and of great beauty, but can be appreciated as works of art. Consistently, throughout human history, as soon as a new functional object has been developed, there is a evident desire to artistically alter or enhance the design.
    [Show full text]
  • Homespun Weaving
    Crafting the Classroom Integrating Visual and Tactile Learning into Core Subjects EDUCATOR RESOURCES BY HOUSTON CENTER FOR CONTEMPORARY CRAFT How to Use Crafting the Classroom Houston Center for Contemporary Craft (HCCC) is a nonprofit arts organization founded to advance education about the process, product and history of craft. HCCC’s major emphasis is on objects of art made primarily from craft materials: clay, fiber, glass, metal, wood or found/recycled materials. Each Crafting the Classroom lesson teaches a science, math, social studies, or language arts objective, and a corresponding craft-based art project. Through integrating art into the core subjects, these lessons are designed to increase student engagement with the objective, promote higher order thinking and creative expression, and provide tactile learners with opportunities to excel. Use these lessons to connect craft with topics that are meaningful to your students and curriculum. For example, many tools, vessels, furniture, clothes, and other items integral to daily life used to be made by hand. Learning about these objects, as well as the skills needed to make and use them, can be a unique way to study world history or other cultures. Replicating decorative patterns can give students a better understanding of geometry. Learning about how craft materials are made and used relates to chemistry, physics, and natural science. These are just a few of the connections that can be made. Pair these lessons with a visit to Houston Center for Contemporary Craft, where your group can enjoy a free guided tour, visit the craft garden, and observe resident artists in their studios.
    [Show full text]
  • Sculpting Rock Into Exquisite Art
    CRaft of Maine by Joshua Bodwell Photography Scott Dorrance Unlocking the Stone Sculpting rock into exquisite art MH+D AUGUST 07 83 CRaft of Maine Maine is misunderstood. Blame it on geography. Over the years, Maine has been perceived—unfairly—to be something of a cultural wilderness. This persistent misconception can be attributed to many factors, but chief among them is Maine’s location at the far northeastern tip of the United States. As the only state in the country bordered by just one other state, Maine is often considered to be out of the way and out of the mainstream. Despite, or perhaps because of, Maine’s secluded setting, the state has nurtured a surprising number of world-class artists over the past century. In fact, Maine is awash in a sea of cultural happenings led by innovative contemporary artists who Mark Herrington “Night Portage” basalt, granite base 54˝ x 8˝ x 8˝ 84 84 AUGUST 07 MH+D are creating literature, music, and art of exceptional quality. “We’re in Maine…the granite is right here!” says June LaCombe, In Maine’s artistic community, sculptors are currently a Pownal-based art consultant who specializes in sculpture. Though experiencing a zenith of sorts. Frequently seen as the younger LaCombe represents a large stable of artists working in a variety sibling to painting, sculpture has pushed its way out of the shadows of materials, stone sculpture holds a special attraction for her. “I’m and taken space at center stage, where it is now receiving some immediately drawn to stone,” she says, “because it comes from the overdue and much-deserved attention.
    [Show full text]
  • Diagnostic Study of Stone Carving Cluster
    DIAGNOSTIC STUDY OF STONE CARVING CLUSTER, BHUBANESWAR By Pabitra Mohan Mishra National Expert, UNIDO-CDP CONTENTS S. No Title Page No. 1 National scenario 2 2 Orissa scenario 2-4 3 Evolution of the cluster 4 4 Structure of the cluster 4 4.1. Geographic spread of the cluster 4-5 4.2. Main cluster actors 5-8 4.3. Present product range 8 5 Production process 9 6 Technology: Use of Machines & tools 9 7 Marketing setup 7.1. Market Channels 10-11 7.2 Handicrafts showrooms/sales outlets 11-12 8 Design trends 12 9 Credit situation 12-13 10 Value chain analysis 13 11 Map of the cluster 14-16 12 Current institutional linkage 17-18 13 SWOT analysis 19-22 14 Vision of the cluster 22 15 Strategy 22-23 16 Plan of action 23 17 Annexures Annex I: Value Chain 24 Annex II Current Output of the Cluster 25 Annex III: Cash flow analysis 26 Annex IV: List of national awardees 27 1 1.0 NATIONAL SCENARIO ON STONE CARVING India has a rich tradition of stonework. Guilds of masons and stone carvers have existed here since the 7th century B.C. Since time immemorial, Indian architecture has relied mainly on stones. Innumerable Temples, forts and palaces of ancient Indian civilization have been carved out of locally available stones. Some of the ancient rock cut wonders are Khajuraho Temple, Elephanta Caves, Konark Temple, etc. Besides, all major archeological excavations have revealed exquisitely carved statuettes and carvings in stone. Old Buddhist architecture like the Sanchi Stupa etc.
    [Show full text]