Related Research Articles
Pottery and porcelain is one of the oldest Japanese crafts and art forms, dating back to the Neolithic period. Types have included earthenware, pottery, stoneware, porcelain, and blue-and-white ware. Japan has an exceptionally long and successful history of ceramic production. Earthenwares were made as early as the Jōmon period, giving Japan one of the oldest ceramic traditions in the world. Japan is further distinguished by the unusual esteem that ceramics hold within its artistic tradition, owing to the enduring popularity of the tea ceremony.
Chinese ceramics are one of the most significant forms of Chinese art and ceramics globally. They range from construction materials such as bricks and tiles, to hand-built pottery vessels fired in bonfires or kilns, to the sophisticated Chinese porcelain wares made for the imperial court and for export.
The Everson Museum of Art in Downtown Syracuse, New York, is a major Central New York museum focusing on American art.
The George R. Gardiner Museum of Ceramic Art is a ceramics museum in Toronto, Ontario, Canada. The museum is situated within University of Toronto's St. George campus, in downtown Toronto. The 4,299.2-square-metre (46,276 sq ft) museum building was designed by Keith Wagland, with further expansions and renovations done by KPMB Architects.
Dehua porcelain, more traditionally known in the West as Blanc de Chine, is a type of white Chinese porcelain, made at Dehua in the Fujian province. It has been produced from the Ming dynasty (1368–1644) to the present day. Large quantities arrived in Europe as Chinese export porcelain in the early 18th century and it was copied at Meissen and elsewhere. It was also exported to Japan in large quantities. In 2021, the kilns of Dehua were inscribed on the UNESCO World Heritage List along with many other sites near Quanzhou for their importance for medieval maritime trade and the exchange of cultures and ideas around the world.
Émile-Aubert Lessore or Lessorre was a French ceramic artist and painter.
Waylande Desantis Gregory was one of the most innovative and prolific American art-deco ceramics sculptors of the early 20th century. His groundbreaking techniques enabled him to create monumental ceramic sculpture, such as the Fountain of the Atoms and Light Dispelling Darkness, which had hitherto not been possible. He also developed revolutionary glazing and processing methods, and was a seminal figure in the studio glass movement.
Kintsugi, also known as kintsukuroi, is the Japanese art of repairing broken pottery by mending the areas of breakage with urushi lacquer dusted or mixed with powdered gold, silver, or platinum. The method is similar to the maki-e technique. As a philosophy, it treats breakage and repair as part of the history of an object, rather than something to disguise.
Alexandre Bigot was a French ceramicist. He was primarily a ceramics manufacturer, producing the designs of many artists and architects of the French-Belgian Art Nouveau movement, including: Jules Lavirotte, Hector Guimard, Louis Majorelle, Henri Sauvage, Henry van de Velde, Auguste Perret, Andre Arfvidson, Anatole de Baudot and more.
A ceramics museum is a museum wholly or largely devoted to ceramics, usually ceramic art. Its collections may also include glass and enamel, but typically concentrate on pottery, including porcelain. Most national collections are in a more general museum covering all of the arts, or just the decorative arts. However, there are a number of specialized ceramics museums, with some focusing on the ceramics of just one country, region or manufacturer. Others have international collections, which may be centered on ceramics from Europe or East Asia or have a more global emphasis.
Annabeth Rosen is an American sculptor best known for abstract ceramic works, as well as drawings. She is considered part of a second generation of Bay Area ceramic artists after the California Clay Movement, who have challenged ceramic traditions involving expression, form and function and helped spur the medium's acceptance in mainstream contemporary sculpture. Rosen's sculptures range from monumental to tabletop-sized, and emerge out of an accumulative bricolage process combining dozens or hundreds of fabricated parts and clay fragments and discards. Reviewers characterize her art as deliberately raw, both muscular and unapologetic feminine, and highly abstract yet widely referential in its suggestions of humanoid, botanical, aquatic, artificial, even science-fictional qualities. Critic Kay Whitney wrote that her work is "visceral in its impact, violent even, but also sensual and evocative" and "floats between the poles of the comic and the mordant."
Conservation and restoration of ceramic objects is a process dedicated to the preservation and protection of objects of historical and personal value made from ceramic. Typically, this activity of conservation-restoration is undertaken by a conservator-restorer, especially when dealing with an object of cultural heritage. Ceramics are created from a production of coatings of inorganic, nonmetallic materials using heating and cooling to create a glaze. These coatings are often permanent and sustainable for utilitarian and decorative purposes. The cleaning, handling, storage, and in general treatment of ceramics is consistent with that of glass because they are made of similar oxygen-rich components, such as silicates. In conservation ceramics are broken down into three groups: unfired clay, earthenware or terracotta, and stoneware and porcelain.
Sueharu Fukami is a Japanese ceramic artist and sculptor known for his work in pale-blue qinbai porcelain. Fukami's abstracted, sculptural ceramic works depart from the traditional Japanese artisan traditions of his upbringing and instead explore natural phenomena and universal senses like "infinite space" through sharp silhouettes, sweeping curves, architecturally-inspired arches, and delicately-colored glaze. His minimalist approach to porcelains has contributed to defining and expanding the meaning, importance, and popularity of contemporary Japanese ceramics beyond craft art circles, most notably to fine art collectors and museums globally.
The American Museum of Ceramic Art (AMOCA) is an art museum for ceramic art, located in Pomona, California. Founded in 2003 as a nonprofit organization, the museum exhibits historic and contemporary ceramic artwork from both its permanent collection of 10,000 objects and through temporary rotating exhibitions.
Ceramic art is art made from ceramic materials, including clay. It may take varied forms, including artistic pottery, including tableware, tiles, figurines and other sculpture. As one of the plastic arts, ceramic art is a visual art. While some ceramics are considered fine art, such as pottery or sculpture, most are considered to be decorative, industrial or applied art objects. Ceramic art can be created by one person or by a group, in a pottery or a ceramic factory with a group designing and manufacturing the artware.
Olga Rapay-Markish was one of the best-known Ukrainian ceramicists of her era. She is especially noted for her large decorative works on buildings throughout Kyiv. Previous to her architectural decoration, she worked as a ceramicist at the Kyiv Experimental Ceramic Art Factory, where she was known for her delicate figurines as well as her paintings on china and dishware.
Israeli ceramics are ceramics designed either in Mandatory Palestine or Israel from the beginning of the 20th century. In additional to traditional pottery, in Israel there are artists whose works were created in an industrial environment. Until the late 1970s there existed in Israel a local tradition that emphasized the local values of nature as an expression of Zionist identity. From the 1980s artistic expressions that sought to undercut this tradition began to appear in the works of Israeli artists, who combined ceramics with other artistic media and with personal, critical agendas.
Richard Shaw is an American ceramicist and professor known for his trompe-l'œil style. A term often associated with paintings, referring to the illusion that a two-dimensional surface is three-dimensional. In Shaw's work, it refers to his replication of everyday objects in porcelain. He then glazes these components and groups them in unexpected and even jarring combinations. Interested in how objects can reflect a person or identity, Shaw poses questions regarding the relationship between appearances and reality.
Jun Nishida was a Japanese ceramicist. He is best known for his massive conceptual pottery pieces, which experiment with the material capacities of clay and the imaginative forms that ceramics could take amid the intense thermochemical conditions of the kiln. Throughout his brief yet productive career, Nishida pushed the boundaries of contemporary ceramics, challenging conventions of scale, abstraction, and method to produce a radically new visual language of pottery.
Yee Soo-kyung is a South Korean multi-disciplinary artist and sculptor best known for her Translated Vase series which utilizes the broken fragments of priceless Korean ceramics to form a new sculpture. Yee's biomorphic sculptures highlight the beauty and possibility after rupture. Her other works in installation and drawings explore psycho-spiritual introspection, cultural deconstruction, kitsch, as well as Korean traditional arts and history melded with contemporary aesthetics.
References
- 1 2 biography from Bouke de Vries web site
- ↑ Murmur Art article Archived 6 July 2009 at the Wayback Machine
- 1 2 Haden-Guest, Anthony (16 July 2009), A Smashing New Talent, The Daily Beast, retrieved 30 August 2011
- ↑ "Simply Smashing!" The Art Newspaper. September 2009.
- ↑ Hervieu, Delphine (1 August 2011), Amy Winehouse's Musing Refuses To Die, The Huffington Post, retrieved 3 September 2011
- 1 2 3 Pryor, John-Paul (8 October 2010), Art Talks – Bouke De Vries, AnOther Magazine, retrieved 1 October 2011
- ↑ The Art of Fine Jewellery at Annoushka, Harper's Bazaar, 3 June 2011, archived from the original on 18 March 2012, retrieved 28 August 2011
- 1 2 Mandos, Ron (16 January 2010), Deconstructions (PDF), Artnews.org, retrieved 30 August 2011
- 1 2 Pallant House Gallery, interview with Bouke de Vries (PDF), The Telegraph, November 2010, retrieved 30 August 2011
