DOCSLIB.ORG

A Just Joy N!

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Just Joy N! Visitor information 10 November 2016 – 26 February 2017 Contact us Open daily 10am – 5pm (Fridays 10am – 2pm) [email protected] Left: Lucie Rie, Bowl, 1977, courtesy of Tyne & Wear Archives & Museum Last admission 30 minutes before closing. 020 7284 7384 and Estate of the Artist Closed 25 and 26 December 2016, 1 January Below: Ruth Duckworth, Pot, 1972, courtesy of York Museums Trust and 2017. Check website for full details of Estate of the Artist opening hours. Access jewishmuseum.org.uk/ceramics The museum has step-free access throughout and accessible toilets. Large print texts are Shaping Ceramics explores the work Featured artists: Admission (includes permanent galleries and available. Guide and assistance dogs are Dan Arbeid Janet Haig temporary exhibitions) of these pioneering ceramicists and welcome. Carers are admitted free. traces their influence on subsequent David Breuer-Weil Grete Marks Adult £7.50* David Cohen Lucie Rie Concession £6.50* generations of ceramic artists whose Shop Hans Coper Antonia Salmon Child (5-16) £3.50 Browse our range of exhibition merchandise Jewish heritage has shaped their Edmund de Waal Ray Silverman Family ticket £18 (two adults and up to including gifts, books and souvenirs. work. Highlights include the work of Ruth Duckworth Jenny Stolzenberg four children) Ray Silverman, who studied under Rie David Jones Free for Museum Friends and National Art and Coper, including a selection of his Pass holders Eat Take a break during your visit and enjoy fresh distinctive stoneware and porcelain This exhibition is generously supported by: * Prices include £1 voluntary donation for Gift Aid purposes Acacia Charitable Trust sandwiches, delicious drinks and sweet treats. pots, among them the first piece of his Eric and Ginny Campus Getting here that Rie approved. David Berg Foundation Jewish Museum London Coming soon The Headley Trust Raymond Burton House Amy Winehouse: A Family Portrait This exhibition also presents a The Moss Family Charitable Trust 129 – 131 Albert Street 16 March – 17 September 2017 selection of contemporary ceramic London NW1 7NB This personal and intimate exhibition, artworks which explore ideas of history 3 minutes walk from Camden Town Underground co-curated by Amy’s brother Alex and sister-in-law Riva, returns to the museum and identity. Edmund de Waal is following an international tour. probably the best known ceramicist Camden Town working in Britain today. See his work 5 mins to Regents Park and ZSL London Zoo Arcady in which 18 thrown porcelain pots stacked in a steel case are Parkway exhibited so they can be seen but not Become a Camden High St touched, reflecting de Waal’s interest Friend from just in the history of collecting and Arlington Rd £25 and enjoy displaying porcelain. Albert St FREE ADMISSION! Don’t miss this opportunity to discover the work of 13 ceramicists in an Printed with vegetable based inks on 100% ECF exhibition spanning over 80 years of Delancey St pulp which contains material sourced from responsibly 10 November ceramic art. managed forests, certified in accordance with the Forest 2016 – Stewardship Council Front cover (L-R): Ray Silverman, Porcelain bottle, around 1986, and 26 February Registered limited company no. 2655110, England & Wales. Registered office as above. Thrown stoneware form, around 1983, Registered Charity no. 1009819. VAT registration no. 115 1152 66. Accredited museum no.31 photos courtesy of Tal Silverman 2017 Lesley McShea Family Events Exhibition Events Tuesdays and Saturdays, 6 December 2016 – ADVANCE 28 January 2017, 10.30am – 12.30pm Curious Explorers Morning BOOKING (excluding 13, 17, 20, 24, 27 and 31 December Saturday 26 November 2016, 10am – 12pm 2016, 3 and 10 January 2017) RECOMMENDED This session is for children with autism or other Discover the story of how Jewish Discover more about the exhibition with jewishmuseum Lesley McShea has been teaching ceramics for .org.uk/ social communication conditions, their siblings, ceramicists transformed British our programme of talks, workshops and 25 years and will be demonstrating Lucie Rie’s parents and carers. Activities include a clay- whats-on techniques including sgraffito. studio pottery and influenced live pottery demonstrations. based arts session and self-directed trails. Irina Razumovskaya Some galleries will have reduced noise levels for this event and a chill-out zone will be available. successive generations of Talks, Workshops and Live Pottery Tuesdays and Saturdays, 31 January – 25 Ages 0-15. Free with museum entry February 2017, 10.30am – 12.30pm ceramic artists. Late Opening Watch ceramicists working live at a Questions? Call Karen in our Learning team on potter’s wheel in the exhibition. Irina Razumovskaya is a Russian Jewish 020 7284 7388 or visit our website In the mid 20th century Jewish émigré Curator’s Talks Free with museum entry ceramicist whose work is inspired by antique ceramicists revolutionised British Wednesday 16 November, 14 December 2016, culture and archaeology. Hanukah Ceramics Family Day 18 January and 15 February 2017, 2 – 2.30pm studio pottery, importing modernist Artist Demonstrations Sunday 11 December 2016, 10am – 2pm Discover more about the themes, stories and Pop-up Potters ideas from central Europe and creating Ceramicists featured in the exhibition Create a clay Hanukah lamp or bowl for your Thursdays, 10.30am – 12.30pm work that was sleek, sophisticated and objects in the exhibition with the curator. demonstrate their process. Hanukah gelt. Other activities will include Free with museum entry Ceramicists and ceramics students from storytelling, singing, object handling and cosmopolitan. Lucie Rie, Hans Coper, Antonia Salmon Ruth Duckworth and Grete Marks Central St Martin’s, the Royal College of Art and playing dreidel to get your family in the spirit Ray Silverman in Conversation Monday 14 November 2016, 10.30am – 12pm London studios will be taking to the wheel in the produced simple and imaginative of Hanukah. Wednesday 7 December 2016, 6.30 – 7.30pm Enjoy an introductory talk followed by a brief exhibition. Check the website before your visit. Ages 0-99 designs that were avant-garde for Ray Silverman talks about his life in ceramics, demonstration. Free with museum entry Free with museum entry their time. including learning from Lucie Rie and Hans Coper. David Jones Free with museum entry Sunday 11 December 2016, 2 – 4pm Access For All Family Day Sunday 12 February 2017, 10am – 2pm David will be demonstrating and discussing Ceramics Workshop for Beginners A family ceramics day with a range of clay- ‘A Language of Ceramics to Express Sunday 29 January 2017, 11am – 4pm based sensory activities and object handling. Jewish Identity’. Learn how to throw and use the wheel to make Children will have the opportunity to have a go a pot. Your pot will be fired and returned to Janet Haig: Hand Building on the potter’s wheel and to create their own the museum for you to collect. The teacher of Monday 23 January 2017, 11.30am – 12.30pm bowl. There will be a BSL interpreted storytelling session and family tour, with sensory object the class is Nam Tran, one of our Potters-in- Watch Janet demonstrate this ancient pottery- handling available for all. Residence. He is a Raku specialist and his work making technique. has appeared in a number of exhibitions. Ages 0-99 Free with museum entry £40 Potters-in-Residence Visit on a Tuesday or Saturday and watch one of Children’s Clay Workshop Late Opening our Potters-in-Residence in action. Thursday 2 February 2017, 6 – 9pm Monday 13 and Thursday 16 February 2017, 10.30am – 1pm Unwind with a drink and explore the museum Nam Tran after hours in this event programmed by Tuesdays and Saturdays, 12 November – Working with one of our resident potters, students from UCL’s MA in Museum Studies. 3 December 2016, 10.30am – 12.30pm children will design and create a piece of Enjoy live music, clay workshops, fun activities Born in Vietnam and raised in London since pottery. This will then be taken away and fired, and more. the age of three, Nam uses his surroundings to and on the second day of the course the pottery £10/£5 for students influence his work; he is a Raku specialist. will be painted and glazed. Ages 7-14 £20 (cost covers both days) Left: Hans Coper, Form, 1974, Left: Antonia Salmon, Wind Rush, 2016, courtesy of Tyne & Wear Archives The Family Programme is made possible thanks to the generous courtesy of Antonia Salmon & Museums support of Lord and Lady Levene. VisitorVisitor information information 1010 November November 2016 2016 – –26 26 February February 2017 2017 ContactContact us us OpenOpen daily daily 10am 10am – –5pm 5pm (Fridays (Fridays 10am 10am – –2pm) 2pm) [email protected]@jewishmuseum.org.uk Left:Left: Lucie Lucie Rie, Rie, Bowl, Bowl, 1977, 1977, courtesy courtesy of ofTyne Tyne & Wear& Wear Archives Archives & Museum& Museum LastLast admission admission 30 30 minutes minutes before before closing. closing. 020020 7284 7284 7384 7384 andand Estate Estate of ofthe the Artist Artist ClosedClosed 25 25 and and 26 26 December December 2016, 2016, 1 1January January Below:Below: Ruth Ruth Duckworth, Duckworth, Pot, Pot, 1972, 1972, courtesycourtesy of ofYork York Museums Museums Trust Trust and and 2017.2017. Check Check website website for for full full details details of of EstateEstate of ofthe the Artist Artist openingopening hours. hours. AccessAccess jewishmuseum.org.uk/ceramicsjewishmuseum.org.uk/ceramics TheThe museum museum has has step-free step-free access access throughout throughout andand accessible accessible toilets. toilets. Large Large print print texts texts are are ShapingShaping Ceramics Ceramics explores explores the the work work FeaturedFeatured artists: artists: AdmissionAdmission (includes (includes permanent permanent galleries galleries and and available.available. Guide Guide and and assistance assistance dogs dogs are are DanDan Arbeid Arbeid JanetJanet Haig Haig temporarytemporary exhibitions) exhibitions) ofof these these pioneering pioneering ceramicists ceramicists and and welcome.welcome.
Load more

Recommended publications
  • The Artist Whose Secret Family History Became the Surprise Book of the Year
    London Evening Standard December 22, 2010 GAGOSIAN GALLERY The artist whose secret family history became the surprise book of the year David Sexton Life-changing project: Edmund de Waal, pictured at his Tulse Hill studio, feels "liberated" by his book’s success This time the Books of the Year choices came up with one stunning result. Sure, there were plenty of mentions for Jonathan Franzen and Candia McWilliam. But the clear winner among British writers was a new face — Edmund de Waal for his family memoir, The Hare with Amber Eyes, which tells its story via a collection of Japanese netsuke that has been inherited through the generations. The tributes were almost embarrassingly profuse. In the Times Literary Supplement, the book was chosen over and over again. For once, sisters AS Byatt and Margaret Drabble could agree — this was the book of the year. The military historian Michael Howard called it "the book, not only of the year, but of the decade ... a quite enchanting book, to be kept and reread by as many generations as it describes". This coup followed on from a complete set of extraordinarily acclamatory reviews when the book was published back in June. In this paper, Rosemary Hill praised the book for combining the charm of a personal memoir with the resonance of world history. In the Sunday Times, Frances Wilson said pretty definitively: "In the present literary climate of dumbed down, throwaway narratives, to be handed a story as durable and exquisitely crafted as this is a rare pleasure ... Like the netsuke themselves, this book is impossible to put down.
    [Show full text]
  • Edmund De Waal's Unfinished Business
    Intelligent Life January/February 2012 GAGOSIAN GALLERY Edmund de Waal’s Unfinished Business "The Hare with Amber Eyes" has become an international phenomenon. Fiammetta Rocco follows the author to Vienna and finds the saga continuing ... Fiammetta Rocco Picture: Edmund de Waal at his studio in south London, photographed by Jonathan Root They were well into the wine before they started telling stories. All day long the delegates at the 2005 Harvard conference on 20th-century studio ceramics had been listening to presentations on the Mingei movement in Japan, debating the role of folk art and the importance of Bernard Leach, a British potter who settled in Japan and became very influential. But as the main course was cleared away, those sitting at a table to one side of the room became captivated by a tale being recounted by another British potter, Edmund de Waal. It was about the Japanese netsuke his family had bought in the 1870s. Within half a century, they were one of the richest in Vienna, with a grand house on the Ringstrasse. At the Anschluss in 1938 the netsuke disappeared; stolen, the family thought. It was only after the war that they discovered they’d been hidden from the Nazis by a faithful servant, Anna. “This would make such a great book,” said Michael Goldfarb, a New York collector and one of those listening. “Edmund, you’ve got to stop talking and start writing. This is the book you were born to write.” Published in June 2010, “The Hare with Amber Eyes” has become the most successful family memoir of the decade.
    [Show full text]
  • Hans Coper Kindle
    HANS COPER PDF, EPUB, EBOOK Tony Birks | 224 pages | 29 Sep 2013 | Stenlake Publishing | 9781840336221 | English | Ayrshire, United Kingdom Hans Coper PDF Book The two most bankable names in this market are Hans Coper and Lucie Rie and their work can usually be relied on to dominate the top price slots. Coper and Rie worked to create functional wares often co-signing their works. News topics. His works are characterised by their innate tonality and carefully worked surface textures. To ensure you the best experience, we use cookies on our website for technical, analytical and marketing purposes. Site by Artlogic. Coper's work was widely exhibited and collected even in his lifetime. These elements are…. Simply because of their economy and concision, their qualities of distilled expansiveness to border on a contradiction in terms that carries some of the essence of the earliest vessels and figures Cycladic forms are often cited while having a very 20th century consciousness. German-born, Coper initially came to Britain in , and from worked with Lucie Rie in her London studio, moving to Hertfordshire in , and subsequently to Somerset. Invalid Email Address. Vintage Fashion Textiles. A metal alloy made from copper with up to two-thirds tin, often with other small amounts of other metals. From Wikipedia, the free encyclopedia. External Websites. In the first element of a two-part feature, ATG considers the London market. Wright Auction. Waistel Cooper in his own world 04 January Once dismissed as a mere Hans Coper follower, the studio potter is now in rising demand. American Design. Hans Coper — Hans Coper Writer He came to England in but was arrested as an alien and sent to Canada, returning to England in where he enrolled in the Pioneer Corps.
    [Show full text]
  • Gagosian Gallery
    The New York Times November 12, 2019 GAGOSIAN ‘The Hare With Amber Eyes’ Comes Home An exhibition in Vienna puts the figurine at the center of Edmund De Waal’s 2010 memoir on show, and tells the story of a family forced from their home by prejudice. Palko Karasz “The Hare With Amber Eyes,” a Japanese netsuke carving, was a central figure in Edmund De Waal’s 2010 memoir of the same name.© Jewish Museum Vienna Last Monday in the imposing Ephrussi Palace, Edmund de Waal presided over a family reunion. For the first time since World War II, 41 relatives from around Europe, the United States and Mexico toured the neo-Renaissance building that had been home to the Ephrussi family, European Jews whose wealth once rivaled that of the Rothschilds. “Itʼs not just a nice family gathering — itʼs a political act,” said Mr. de Waal in an interview the next day. Mr. De Waal, a British ceramic artist and best-selling author, is the great-grandson of Viktor von Ephrussi, who thrived in Vienna as a banker before fleeing the city after Hitler’s 1938 incorporation of Austria into the Third Reich. On Tuesday, the country’s president, Alexander Van der Bellen, welcomed the family to an exhibition opening nearby that tells their story. “The Ephrussis: Travel in Time,” at the Jewish Museum Vienna through March 8, presents the family’s history through documents, photographs and souvenirs that Mr. de Waal donated to the museum last year. But the stars of the show are 157 netsuke (pronounced NET-ske), tiny Japanese carvings in wood and ivory, made famous by Mr.
    [Show full text]
  • Westminsterresearch the History And
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The history and development of the Ceramic Research Centre-UK Peters, T. A presentation given at at Humanism - Poem of Earth for Human symposium, Clayarch Gimhae Museum, 05 Apr 2018. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] The history and development of the Ceramic Research Centre – UK Tessa Peters Presentation given at Humanism symposium, Clayarch Gimhae Museum, 5 April 2018 I would like to thank Clay Arch and all its staff for the opportunity to share our work and to gain a better understanding of contemporary ceramics in Korea. Special thanks are due to Choi Jeonguen, Director of Clayarch Gimhae Museum, and to Curator Kim Seungtaek for organising the exhibition to such a high standard and for facilitating this symposium. I would also like to extend thanks to Hyeyoung Cho for contributing to our research activity and for initiating our visit. My colleagues have already told you about their individual research and art practices. I hope to be able to offer some brief historical context to the development of ceramic art in the UK during the 20th to 21st century, and to indicate how the Studio Pottery Course at Harrow College of Art (which was to become part of the University of Westminster) relates to this.
    [Show full text]
  • Lucie Rie - 1902-1995
    Lucie Rie - 1902-1995 Dame Lucie Rie [née Gomperz] was born on 16 March 1902 in Vienna, the third and last child of Professor Benjamin Gomperz (1861-1936), an ear, nose, and throat specialist, and his wife, Gisela (1873-1937), daughter of Ignaz Wolf and his wife, Hermine. The Wolfs were a prominent Eisenstadt family whose fortune was based on wine production. The Gomperz family, too, was prosperous and Lucie's childhood was spent between their home in the Falkstrasse and the Wolfs' country house at Eisenstadt. She was educated by a private tutor. Through her father, a friend of Sigmund Freud, and her uncle, the collector and Zionist historian Sandor Wolf, she was also in touch with the rich intellectual life of early twentieth-century Vienna. After contemplating a medical career she decided instead to enter the Kunstgewerbeschule, the art school attached to the Wiener Werkstatte, in 1922. There she was, she said, instantly 'lost' to the potter's wheel. She was taught by Michael Powolny, whose strengths as a ceramist were technical rather than aesthetic. Her work was nevertheless noticed by the co-founder of the Werkstatte, Joseph Hoffmann, who sent her pots to the Exposition des Arts Decoratifs et Modernes in Paris in 1925. Over the next decade she developed her own style. She herself later said in an interview with the author that the work of these years was 'hardly at all important', but critics have disagreed (The Guardian, 31 Aug 1988). She combined a plain, modernist aesthetic with the technical daring that Powolny had encouraged in her, somewhat perversely, by telling her she would never be able to imitate ancient glazes.
    [Show full text]
  • Media Release
    MEDIA RELEASE October 8, 2014 Conversations with Lucie Rie Conversations with Lucie Rie October 17, 2014 to March 9, 2015 Drury Gallery How incredibly compelling a conversation with famed potter Lucie Rie would have been! Rie, whose life story is as awe-inspiring as her work, will be celebrated at the Art Gallery Curated by Toby Lawrence of Greater Victoria later this month when the exhibition, Conversations with Lucie Rie , opens on Oct. 17. One of the most influential potters of the 20 th century, Rie achieved damehood in 1991, and is renowned for her modernist aesthetic of spare lines and textured surfaces. Her Art Gallery of Greater Victoria career spanned seven decades during the 20th century and culminated in an exhibition at 1040 Moss Street the Metropolitan Museum of Art from 1994 to 1995—the year of her death. Rie was born in Vienna in 1902, and she was forced to leave behind a burgeoning arts career when she Victoria, British Columbia V8V 4P1 fled from the Nazis in 1938 to England. In London, Rie re-established herself through her 250.384.4171 aggv.ca own artistic language and studio at Albion Mews. “The exhibition considers the development of Rie’s work and the impact she had on her contemporaries and subsequent generations of artists, curators, collectors, and admirers,” says the exhibition’s curator, Toby Lawrence. “It also highlights the friendships and dialogue she established through her practice as a studio potter.” See aggv.ca for details “The Gallery is extremely fortunate to have 19 of Lucie Rie’s pieces in our collection,” continues Lawrence.
    [Show full text]
  • Exhibitions and Events
    Exhibitions and Events SEPTEMBER 2018 – MARCH 2019 Exhibitions Highlights September 2018 – March 2019 Strata | Rock | Dust | Stars 28 September – 25 November 2018 OF Day of Clay DAY 6 October 2018 The BFG in Pictures 12 October 2018 – 24 February 2019 When all is Quiet: Kaiser Chiefs in CLAY Conversation with York Art Gallery 14 December 2018 – 10 March 2019 Lucie Rie: Ceramics and Buttons Until 12 May 2019 ARTIST’S CHOICE by Per Inge Bjørlo Until 31 March 2019 6 OCTOBER 2018 Project Gallery As part of the Ceramics + Design Now Festival 2018, join York Art Gallery for a celebration of ceramics with Ulungile Magubane, eMBIZENI hands-on activities, performance art, raku firing, workshops and expert talks. From 28 September 2018 Save time and buy your ticket online – visit yorkartgallery.org.uk | 3 Strata | Rock | Dust | Stars A York Museums Trust, FACT Liverpool, and York Mediale exhibition. 28 September – 25 November 2018 This is a landmark exhibition featuring moving image, new media and interactive artwork. Strata - Rock - Dust - Stars takes its inspiration from William Smith’s ground-breaking geological map of England, Wales and Scotland, created in 1815 – which identified the layers of the Earth and transformed the way in which the world was understood. It will be the most ambitious and large-scale media art exhibition York has ever hosted. The exhibition showcases works by internationally renowned artists Isaac Julien, Agnes Meyer-Brandis, Semiconductor, Phil Coy, Liz Orton, David Jacques, and Ryoichi Kurokawa. Co-commissioned between York Art Gallery and York Mediale, and curated by Mike Stubbs, Director of FACT Liverpool.
    [Show full text]
  • EDMUND DE WAAL Nottingham, United Kingdom, 1964 Lives and Works in London, United Kingdom
    EDMUND DE WAAL Nottingham, United Kingdom, 1964 Lives and works in London, United Kingdom EDUCATION 2002 Senior Research Fellow in Ceramics, University of Westminster, London, United Kingdom 1991–1992 Post-graduate Diploma in Japanese Language, University of Sheffield, Sheffield, United Kingdom 1983–1986 BA (Hons) in English Literature (First Class), Trinity Hall, University of Cambridge, Cambridge, United Kingdom 1981–1983 Apprenticeship with Geoffrey Whiting, Canterbury, United Kingdom SOLO EXHIBITIONS (SELECTION) 2019 Breath, Ivorypress, Madrid, Spain 2018 Yugen, set design for Wayne McGregor’s ballet at the Royal Opera House, London, United Kingdom 2017 Morandi / Edmund de Waal, Artipelag, Gustavsberg, Sweden Edmund de Waal: Lettres de Londres, Espace Muraille, Geneva, Switzerland 2016 During the Night (curated by Edmund de Waal), Kunsthistorisches Museum, Vienna, Austria Kneaded Knowledge: The Language of Ceramics, Kunsthaus Graz, Graz, Austria Irrkunst, Max Hetzler Gallery, Berlin, Germany Edmund de Waal: Ten Thousand Things, Gagosian Gallery, Beverly Hills, California, USA 2015 The Lost and the Found: Work from Orkney, New Art Centre, Salisbury, United Kingdom Wavespeech (with David Ward), Pier Arts Centre, Stromness, Scotland, United Kingdom White, Royal Academy of Arts, London, United Kingdom If We Attend, Pallant House Gallery, Chichester, United Kingdom 2014 Atmosphere, Turner Contemporary, Margate, United Kingdom Lichtzwang (organized by Kunsthistorisches Museum), Theseus Temple, Vienna, Austria Another Hour, Southwark Cathedral,
    [Show full text]
  • High Unseriousness: Artists and Clay Edmund De Waal
    44 — 45 High Unseriousness: Artists and Clay Edmund de Waal The plasticity of clay has always been of great interest to artists. But with this centrality also comes the highly charged area of the status of clay. The question of whether it is precisely because clay can be seen as practically worthless that so many artists have been able to use it as a material in exploratory and digressive ways. It is a complex map. The artists who have had significant involvement with clay—not just an occasional foray—include Gauguin, the German Expressionists, the Fauves, and the Russian Suprematists in the early part of the 20th century. They include the major mid-century involvement of Picasso, Miró and Noguchi, and the work of Lucio Fontana, and now the contemporary work of Tapies, Caro and Cragg. The reasons why such an extraordi- nary history of exploratory involvement with clay should have been so systematically undervalued and decried are complex: the critical history for this century of work with clay provides a back- drop for the exhibition. The great absence of a considered critical appraisal for much of the ceramic work by artists reveals anxieties about craft, anxieties about the value of the decorative and anxi- eties about the place that objects can have within modern art. But above all it reveals a dislike for the messiness and inchoateness of clay, the way in which it shifts its states from liquid to solid, the way in which it moves. Some artists who have used clay have wanted to disassociate themselves from ceramics: they felt that ceramics as a discipline was alienating.
    [Show full text]
  • Fire + Earth Catalogue
    Table of Contents Artists Robert Archambeau ................................................1 Ann Mortimer.....................................................112 Loraine Basque........................................................4 Diane Nasr..........................................................115 Alain Bernard..........................................................7 Ingrid Nicolai......................................................118 Robert Bozak ........................................................10 Agnes Olive.........................................................121 John Chalke ..........................................................13 Walter Ostrom ....................................................124 Ruth Chambers.....................................................16 Kayo O’Young.....................................................127 Victor Cicansky.....................................................19 Greg Payce ..........................................................130 Jennifer Clark........................................................22 Andrea Piller .......................................................133 Bonita Bocanegra Collins ......................................25 Ann Roberts........................................................136 Karen Dahl ...........................................................28 Ron Roy..............................................................139 Roseline Delise......................................................31 Rebecca Rupp .....................................................142
    [Show full text]
  • BREAKING PORCELAIN: a Journey in the Curatorship of Inherited Meissen Shards
    . i BREAKING PORCELAIN: A Journey in the Curatorship of Inherited Meissen Shards by Michaela Howse 13436511 Thesis presented in fulfillment of the requirements for the degree of Master of Visual Arts in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr Ernst van der Wal March 2017 . ii . iii DECLARATION By submitting this thesis/dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly oth- erwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtain- ing any quali cation. Date: March 2017 . iv . v ABSTRACT Breaking Porcelain is a personal journey in the curatorship of inherited porcelain shards. A Meissen porcelain collection, once belonging to my great, great grandparents – German Jewish collectors in Dresden – was stolen by the Nazis, partly lost and partly bombed in the fi rebombing of Dresden, later in part recovered from the destruction, and then further held in East Germany until the remains of the collection, a great deal of it broken, were fi nally returned to the family. Broken and scarred, the porce- lain fragments I have inherited serve as memorials that bear the evidence of their complex pasts. At the heart of the curatorial project lies the intention to understand the value and relevance of these porcelain fragments today. This involves exploration into the contexts that informed them during their history as well as appreciation of the effects they have had on people’s lives in the recent past.
    [Show full text]