Grayson Perry, renowned for his ceramic vases decorated with shocking, unconventional imagery, rose to fame in 2003 when he won the Turner Prize. Since then, Perry has remained an important voice in the arts and the contemporary discussion of gender--in 2016, he published the critically acclaimed book The Descent of Man. Perry's hard-hitting yet exquisite work, which also includes tapestry, prints, sculpture, and drawing, references his own upbringing and his life as a transvestite while engaging with broader issues, from war and religion to politics and sex.
Grayson Perry, now in an expanded and updated edition to cover his work up to 2019, explores Perry's art through a discussion of his major themes and subjects. Jacky Klein's text is complemented by intimate and insightful commentaries on individual pieces by the artist, giving unique access to his imaginative world and creative processes. Over 225 of Perry's works are illustrated, as well as a rich selection of the visual material that has inspired him, from Afghan war rugs, Sumatran batiks, and medieval altarpieces to the paintings of Pieter Bruegel and the American outsider artist Henry Darger.
An extraordinary blend of narrative history and memoir, by the author of the award-winning and bestselling international sensation, The Hare with Amber Eyes
In The White Road, artist Edmund de Waal gives us an intimate portrait of his lifelong obsession with porcelain, or "white gold." A potter who has been working with porcelain for more than forty years, de Waal describes how he set out on five journeys to places where porcelain was dreamed about, refined, collected, and coveted--and that would help him understand the clay's mysterious allure. From his studio in London, he begins by travelling to three "white hills"--sites in China, Germany, and England that are key to porcelain's creation. But his search eventually leads him around the globe and reveals more than a history of cups and figurines; rather, he is forced to confront some of the darkest moments of twentieth-century history.
Part memoir, part history, part detective story, The White Road chronicles a global obsession with alchemy, art, wealth, craft, and purity.
- First publication of the complete Lotte Reimers Foundation Collection - Three hundred ceramic art objects by 115 international artists Selected artists: Ingeborg & Bruno Asshoff (DE), Antje Br ggemann (DE), Claudi Casanovas (ES), Claude Champy (FR), Daphne Corregan (US), Anne Currier (US), Pippin Drysdale (AU), Karl Fulle (DE), Gerd Kn pper (JP), Beate Kuhn (DE), Enric Mestre (ES), Ken Mihara (JP), Herman Muys (BE), Thomas Naethe (DE), Suku Park (RK), Lotte Reimers (DE), Lucie Rie (UK), Reinhold Rieckmann (DE), Karl & Ursula Scheid (DE), Roland Summer (AT), Ann Van Hoey (BE), Gotlind Weigel (DE), Robin Welch (UK) The 300 works of the Lotte Reimers Foundation showcase the wide spectrum and the diversity of modern ceramic art. The works by 115 international artists, from classical vessels to free sculpture, are to now permanently move to Friedenstein Castle in Gotha, giving rise to this comprehensive publication. As a former gallerist and museum director as well as passionate ceramicist, Lotte Reimers is profoundly grounded in the material and with her unmistakable flair has compiled this collection, which will now remain within the museum. Her engagement and life-long fostering of ceramic art makes her one of the most significant personalities in the European ceramic scene. Text in English and German.
In the early nineteenth century, printed tablewares formed part of the new media of the age. Together with patterned textiles and wallpapers they assimilated, then disseminated the constructs of landscape imagery making the previously exclusive available to many. Printed tablewares played a significant role in the democratisation of artistic imagery as well as the development of cultural and national identities. Eventually, as newer media forms began to supersede the vitrified print, meaning became diluted, so that the genre eventually reached obsolescence and kitsch. Today there is a growing interest in this undervalued material from collectors, curators, museologists and contemporary artists who reference and celebrate the genre. The new artwork is international in nature, reflecting the significant cultural impact printed transferwares had as they were produced and exported around the world. Melding historical enquiry with contemporary practice, the book illustrates how artists re-appropriate this historical genre to observe, record, comment and re-animate.
A comprehensive manual of techniques covering, in detail, all the basic studio processes from selection of clays, design, equipment and the workshop to hand and wheel-work, decoration, glazing and the use of the kiln. A series of projects is included.
In the mid-20th century, ceramics evolved from a utilitarian craft or therapeutic hobby into a well-recognized fine art that continues to occupy a place in today's art world. In this pioneering study, leading scholar Martha Drexler Lynn explores how and why this shift occurred by examining the pivotal period for the maturation of American studio ceramics. Lynn traces critical developments in ceramics education, exhibition, patronage, and technology from 1940 to 1979, as magazines dedicated to the practice appeared, institutional support flourished, audiences grew, and star artists emerged. The most in-depth history of American studio ceramics to date, this book is the first to fully explore the works of art alongside the societal trends that shaped them and the organizations that propelled the movement. Lynn considers the movement's fluctuation across geographic regions as well as stylistic responses to advances in technology and cultural influences from across the United States and abroad. Key patrons and practitioners such as Aileen Osborn Webb, Glen Lukens, Peter Voulkos, and Robert Arneson are featured alongside lesser-known figures. This groundbreaking volume illustrates how studio ceramics came to define itself and challenged the boundaries between fine art and craft. It will be a definitive resource on the movement for years to come.
Flora S. Kaplan draws on several disciplines and techniques to describe, classify, and interpret style in the black-on-red glazed pottery tradition of Puebla, Mexico.
The concept of style although widely used in archaeology, ethology, and art history often is too vague to be useful in developing either an empirical methodology for its study or in illuminating the creative and cognitive processes in human beings. Kaplan, however, rigorously defines style in her study of a single functioning style of utilitarian folk pottery and seeks to explicate the conditions in which creative and cognitive processes take place. In her search for meaning in group style as well as for a replicable methodology for the systematic analysis and comparative study of style in material culture, Kaplan turns to the techniques of ethnology, archaeology, and linguistics, thus providing a basis for a testable model.
The markings, the color, the sizes, the shapes in short, the style of this black-on-red pottery are an expression of a number of ancient themes and myths that have shaped the Indian view of life over a long period. Some of these themes and myths have been rephrased with new meaning and expression over the years as changes have occurred, particularly the Spanish conquest and colonialism, independence, and revolution; but many more can be traced back to their Aztec roots. Viewing the history of this pottery as a microcosm of the history of the country and its people, Kaplan notes that "this folk pottery has transcended its homely origins to become a significant art form, one that conveys the essence of Mexicaness. The pottery and its use serve to define social relations among realigned classes in the region and nation."
Kaplan discusses the nature and extent of the community formed by the potters of black-on-red ware, describing and classifying the pottery and the raw materials used. She examines the technique of pottery making by focusing on the role of learning and specialization in the transmission of style. Kaplan explores the patterns of traditional pottery and looks at distribution of the ware as well as at the daily and ceremonial contexts of its use, suggesting that style in material culture is a system that embodies group identity and provides a basis for group action."