The Ceramics Reader is an impressive collection of essays and text extracts which covers all the key areas of ceramics - both past and present. It focuses on thoughts and discussions within ceramics from the last 20-30 years in particular, but also gives the reader a broad overview of the last 100 years. One aim of the book is to introduce contemporary debates, raise awareness and stimulate thought rather than to present a closed case for examination. Consequently the essays or extracts present different approaches to give a rounded viewpoint. Beginning with essential questions such as 'Why are ceramics important?' it also considers the field of ceramics from a range of perspectives - as a cultural activity, ceramics as metaphor, where it sits within arts and crafts, within gender discussions, ceramics as sculpture, the use of ceramics as a vehicle for propaganda, ceramics within industry, within museums, and most recently as part of the 'expanded field' as a Fine Art medium and vehicle for ideas.The texts come from a wide variety of sources - books, magazines, journals, papers presented at conferences and online journals, as well as some newly commissioned material never before published, to present an international and comprehensive look at ceramics. The book is divided into three main sections and each has a short introduction by the editors to place the chosen texts in context and explain the selections, as well as pointing to any strong threads or issues within the section and offering a point of view. This book is ideal for ceramic students, but will also appeal to anyone wishing to gain a broad overview and understanding of the world of ceramics.
Selected by Choice magazine as an Outstanding Academic Book for 2000
Chinese glazes have been admired throughout history for their extraordinary qualities and colors--not least in China itself, where their appearance has been compared variously to jade, to tea-dust, to hare's fur, or to the color of the sky after the rain. Some Chinese glazes are vibrant and brilliant in tone, while others are deep, complex, and subtle, their properties seeming to change according to ambient light. Chinese glazes have long presented a technical challenge to Western potters, and this book is the most complete account yet of their nature and their reconstruction. The story of Chinese glazes is also the story of Chinese ceramics itself, one of the most fascinating and influential traditions in ceramic history.
Chinese Glazes traces the development of China's great high-fired glaze tradition from its roots in the Bronze Age, through the famous monochrome stoneware glazes of the Song dynasty, to the fine porcelain glazes of southern China. The book also examines in detail the story of China's low-fired glazes, from the time of China's first emperor to the present day. The book shows clearly how the potters of ancient China were able to work their ceramic miracles from the simplest recipes, and how modern potters can use and adapt these principles for their own work. The book contains hundreds of recipes for formulating Chinese glazes with Western materials, simple and advanced calculation techniques, as well as efficient blending procedures with local materials.
The book is lavishly illustrated, with nearly three hundred photographs, one hundred in full color. These depict examples of the Chinese arts as found in pottery ranging from simple earthenware jars excavated at Neolithic sites to exquisitely designed dishes found in imperial tombs. They also show examples of modern Western ware that employ these remarkable glazing techniques.
Ceramics is back in a big way, experiencing a steady surge of interest and popularity not seen since the 1970s. The return to the handmade, driven by our increasingly digital lives, means there are now more makers, sellers, and collectors than ever. There is also a new desire for unique objects made by hand and the imperfections associated with the marks of the maker. Pottery captures this authenticity in ways no other medium can.
From decorative pieces to the beautiful but functional, to sculptural works pushing the boundaries of the medium, Clay surveys the rich creative output of fifty of the top studio potters from around the world. It is a celebration of a new generation of artisans working in clay, a snapshot not necessarily of what is happening at the elite gallery level but rather a behind-the-scenes look at unique and eclectic offerings, both functional and sculptural, from small studios around the world.
This book opens a neglected chapter in the reception of Athenian drama, especially comedy, and gives center stage to a particularly attractive and entertaining series of vase-paintings which have generally been regarded as marginal curiosities. These are the so-called phylax vases, nearly all painted in Greek cities of South Italy in the period 400 to 360 B.C. Until now, they have been taken to reflect a sort of local folk-theater, but Taplin argues that most, if not all, reflect Athenian comedy of the sort represented by Aristophanes. His bold thesis brings up questions about the relation of tragedy as well as comedy to vase painting, the cultural climate of the Greek cities in Italy, and the extent to which Athenians were aware of drama as a potential export. It also enriches appreciation of many key aspects of Aristophanic comedy. The book has assembled 46 photographs of vase-paintings, many printed here for the first time outside specialist publications not readily accessible.
With hundreds of recipes for some of the most popular and enduring high-fire glazes, this reference will prove a boon to ceramists who want to master this complex and versatile aspect of the art. Author John Britt, who served as Clay Coordinator at the respected Penland School of Crafts, has personally tested many of the recipes, and carefully reviews every one. He offers a thorough examination of glaze materials, chemistry, and tools, and presents the basics of mixing, application, and firing procedures. There's a wealth of information on various type of glazes, including copper, iron, shino, salt/soda, crystalline, and more. An exhaustive index of subjects and a separate index of glaze recipes will help ceramists find what they need, quickly and easily.
According to Ceramics Monthly, approximately 75% of potters glaze their pieces at mid-range temperatures--and this complete studio guide eliminates the guesswork from the popular process. Along with hundreds of recipes, it explores mixing, application, specific firing and cooling cycles, and all the factors that make glazes work. See how to boost colors with intense stains, washes, and underglazes; achieve stunning results that equal high-fire glazing, and expand the frontiers of mid-range with tips for wood, salt, and soda firing.
Through ceramic works, as well as examples of furniture, glass, metal, jewelry, fashion, painting and sculpture from Europe and America, from the years following World War 1 to 1929, this volume looks at the sumptuous world of Art Deco.
Italian designers Domenico Rambelli, Francesco Nonni, Pietro Melandri, Riccardo Gatti and Giovanni Guerrini are among its protagonists; also represented are German ceramics of the Weimar Republic and works from France and Belgium.
Expanding the context of ceramic production, Deco Ceramics includes xilographies by Nonni and furniture by Berdondini and Golfieri. Outstanding works by Gio Ponti and Giovanni Gariboldi for Richard Ginori, and their work for the Lenci and Rometti companies, are also included.
Like the ceramics he collected throughout his life, Walter C. Koerner was a survivor of turbulent times. Born in Moravia in 1889, Koerner fled his homeland shortly before the Nazi occupation of Czechoslovakia. After immigrating to Canada and settling in B.C., he prospered in business and became one of the University of British Columbia's most significant benefactors.Today, the gallery in the Museum of Anthropology that bears Koerner's name is home to one of the most exquisite collections of European ceramics in North America. The Koerner Ceramics Gallery is a testament to elegance, craftsmanship, and the beauty of everyday objects. Yet it is also a reflection of the complex socio-political forces at work throughout four centuries of European history. A lavish celebration of this impressive collection, Koerner Ceramics highlights approximately two hundred functional and decorative wares from the sixteenth to the nineteenth century. From Italian Renaissance maiolica, still considered by many to be the pinnacle of European ceramic art; to Haban pottery created by Anabaptist craftsmen, which carries the history of religious faith and persecution; to delftware from Holland, which was inspired by the Chinese and Japanese porcelain that arrived on Dutch shores in the seventeenth century--the pieces featured in this volume document the evolution of style, technique, and culture. This book is a fascinating, comprehensive, and visually stunning tribute.
A pioneering and fascinating study, Dutch Trade and Ceramics in America in the Seventeenth Century was the first book in English to provide specific information on the various types of Dutch ceramics used by Dutch, English, and Swedish colonists in eastern North America between 1600 and 1700. Charlotte Wilcoxen also examines the broader context of seventeenth-century trade, revealing the maritime channels by which the Dutch brought goods to New Netherland settlements and widely distributed them. Drawing upon a wide range of disparate and inaccessible sources of information, this comprehensive compilation is essential for historical archaeologists and historians.
Charlotte Wilcoxen (1905-2006) was Research Associate for the Albany Institute of History and Art and author of Seventeenth Century Albany: A Dutch Profile.