Related Research Articles
Bernard Howell Leach, was a British studio potter and art teacher. He is regarded as the "Father of British studio pottery".
The term "ethical pot" was coined by Oliver Watson in his book Studio Pottery: Twentieth Century British Ceramics in the Victoria and Albert Museum to describe a 20th-century trend in studio pottery that favoured plain, utilitarian ceramics. Watson said that the ethical pot,"lovingly made in the correct way and with the correct attitude, would contain a spiritual and moral dimension." Its leading proponents were Bernard Leach and a more controversial group of post-war British studio potters. They were theoretically opposed to the expressive pots or fine art pots of potters such as William Staite Murray, Lucie Rie and Hans Coper.
Shōji Hamada was a Japanese potter. He had a significant influence on studio pottery of the twentieth century, and a major figure of the mingei (folk-art) movement, establishing the town of Mashiko as a world-renowned pottery centre. In 1955 he was designated a "Living National Treasure".
Studio pottery is pottery made by professional and amateur artists or artisans working alone or in small groups, making unique items or short runs. Typically, all stages of manufacture are carried out by the artists themselves. Studio pottery includes functional wares such as tableware and cookware, and non-functional wares such as sculpture, with vases and bowls covering the middle ground, often being used only for display. Studio potters can be referred to as ceramic artists, ceramists, ceramicists or as an artist who uses clay as a medium.
Bennett Bean is an American ceramic artist. Although commonly described as a studio potter, some would characterize him as a sculptor and painter who works primarily in studio pottery. Bean resides in Frelinghuysen Township, New Jersey. Bean is best known for his pit fired white earthenware vessels, especially his collectible, non-functional bowls and teapots. His ceramics works are often asymmetrical, non-functional, and fluid looking.
Michael Ambrose Cardew (1901–1983), was an English studio potter who worked in West Africa for twenty years.
Gwyn Hanssen Pigott OAM (1935–2013) was an Australian ceramic artist. She was recognized as one of Australia’s most significant contemporary artists. By the time she died she was regarded as "one of the world's greatest contemporary potters". She worked in Australia, England, Europe, the USA, New Zealand, Japan and Korea. In a career spanning nearly 60 years, influences from her apprenticeships to English potters were still apparent in her later work. But in the 1980s she turned away from production pottery to making porcelain still-life groups largely influenced by the Italian painter Giorgio Morandi.
Winchcombe Pottery, near Winchcombe in Tewkesbury Borough, North Gloucestershire, is an English craft pottery founded in 1926.
Nancy Sweezy was an American artist, author, folklorist, advocate, scholar, and preservationist. Known initially for her work as a potter in the 1950s, Sweezy became a scholar of the history and creation of pottery and wrote several authoritative texts and books on U.S. and international folk pottery. She was a major figure in the establishment of markets for folk and traditional crafts. Other major accomplishments in her extensive career included the founding of the crafts organization Country Roads, the revival of North Carolina's historic Jugtown Pottery, and the creation of the Refugee Arts Group in Massachusetts for immigrant folk artists. Her advocacy work also included developing apprenticeship programs. She also was involved with Club 47, a famous performing scene in the American folk music revival.
Elizabeth Fritsch CBE is a British studio potter and ceramic artist born into a Welsh family in Whitchurch on the Shropshire border. Her innovative hand built and painted pots are often influenced by ideas from music, painting, literature, landscape and architecture.
Clive Bowen is a Devon based potter whose work is included in a number of public collections.
Ray Finch MBE, formally Alfred Raymond Finch, was a respected English studio potter. who worked at Winchcombe Pottery for a period spanning seventy five years.
Jack Doherty is a Northern Irish studio potter and author. He is perhaps best known for his vessels made of soda-fired porcelain. He has been featured in a number of books, and his work has been exhibited widely in both Europe and North America. Articles of his have appeared in various pottery journals and he has been Chair of the Craft Potters Association.
Charles Counts (1934–2000) was an American potter, designer, textile artist, quilter, teacher, writer, and activist. Counts worked to preserve the art forms of his native Appalachia, and later moved to Nigeria where he taught until his death.
Dorothy Auman was a potter, whose works won a North Carolina Heritage Award, in 1989, from the North Carolina Arts Council.
John Parker Glick was an American ceramicist. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. His experience working with ceramics led him to publish several articles about the craft. In addition to producing pottery, Glick began making "landscape oriented" wall panels during the latter part of his career. Known as "the people's potter," he is primarily remembered for his contributions to art and the field of ceramics.
Karl Martz was an American studio potter, ceramic artist, and teacher whose work achieved national and international recognition.
The Coxwold Pottery was a pottery studio based in the village of Coxwold, North Yorkshire, England, launched by artist potters Peter and Jill Dick in 1965, and in operation until 2012.
Lisa Kay Orr is an American potter and a teacher of ceramics. Orr has work in both public and private collections, and shows her work nationally as well as internationally. Orr's work can be see in the Fine Arts Museum of San Francisco and in Korea in the collection of the WOCEF.
References
- ↑ Hewitt, Mark; Sweezy, Nancy (2005). The Potter's Eye: Art & Tradition in North Carolina Pottery . Chapel Hill: University of North Carolina Press. ISBN 0-8078-2992-7.
- ↑ http://www.worldcat.org/oclc/990344160 [ bare URL ]
