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An emancipator of porcelain, Piet Stockmans has freed this material to be a purely artistic means of expression. The Belgian artist first defunctionalized tableware, then created installations with porcelain on walls and floors, and finally introduced the human body into his oeuvre. This book is the first extensive monograph on the artist.
What motivates and inspires the finest porcelain artists working today? Forty internationally celebrated masters reveal their secrets, explaining just how they work with this incredibly demanding ceramic material, prized for its pristine beauty. Pure white and wonderfully delicate, porcelain is what clay potters usually graduate to only after years of honing their skills. This diverse collection showcases the results of that dedication, and the versatility is simply breathtaking: Claire Curneen presents highly emotive, tactile figurative forms. Edmund de Waal’s elegant celadon site-specific vessel installations are renowned for their meditative presence. Harlan House’s finely carved vessels take inspiration from nature's organic forms, while Bodil Manz's eggshell porcelain cylinders are so translucent that you can sometimes discern light and shadow passing through the walls of his pots.
Ceramics Masterclass examines 100 great pieces of ceramics from history and explores how they were made what they do well and what we learn from them. The subject of ceramics is steeped in history and tradition. For thousands of years humans have exploited the versatile qualities of clay as a material to produce items ranging from humble utilitarian vessels integral to family living, right through to exquisite works of art. Louisa Taylor explores this diverse discipline by showcasing 100 of the most innovative and inspiring artists past and present, analysing the techniques and methods used to create the works, and the concepts which underpin their creative process. The book shows how to recreate intricate still-life dioramas like fifteenth-century artist Bernard Palissy, explore narrative like Grayson Perry and convey sensitivity to material like Phoebe Cummings. Arranged thematically, Ceramics Masterclass will include chapters on vessels, form and surface, function, figurative works, one-offs and installations. Explores the artistic process, methodology and techniques of 100 great artists In-depth ceramic techniques section covering skills integral to working with clay Includes historical and contemporary examples Represents a global perspective of the field, including dynamic and ground-breaking approaches to clay Perfect for students, amateur ceramicists and professionals, this book will represent a global perspective of historical and contemporary approaches to clay and be a catalyst for discovery and intrigue.
Ceramics and the Museum interrogates the relationship between art-oriented ceramic practice and museum practice in Britain since 1970. Laura Breen examines the identity of ceramics as an art form, drawing on examples of work by artist-makers such as Edmund de Waal and Grayson Perry; addresses the impact of policy making on ceramic practice; traces the shift from object to project in ceramic practice and in the evolution of ceramic sculpture; explores how museums facilitated multisensory engagement with ceramic material and process, and analyses the exhibition as a text in itself. Proposing the notion that 'gestures of showing,' such as exhibitions and installation art, can be read as statements, she examines what they tell us about the identity of ceramics at particular moments in time. Highlighting the ways in which these gestures have constructed ceramics as a category of artistic practice, Breen argues that they reveal gaps between narrative and practice, which in turn can be used to deconstruct the art.
The international ceramics scene is enjoying the highest profile it has had for many years. Breaking the Mould looks at ceramic artists working within this versatile medium. Drawing on the rich history of pottery these artists are pushing the techniques, objectives and perceptions of the medium into new, exciting territory. The book profiles the work of over 70 ceramicists, including Suzanne King, Simon Fell, Grayson Perry, Barnaby Barford, Carina Ciscato and Amy Houghton. Their work ranges from interpretations of utilitarian pots, to abstract sculpture and a revisioning of kitch porcelain ornaments, all of which are brought to life in beautiful colour reproductions. Essays by prolific makers and academics look at the history and inspirations behind the medium today. Following in the footsteps of New Directions in Jewellery, Fashioning Fabrics and The Cutting Edge of Wallpaper, Breaking the Mould is a definitive overview of a craft scene that is simultaneously building upon and breaking with its roots, and in doing so creating a brave new future for itself.
In his major new history, Paul Greenhalgh tells the story of ceramics as a story of human civilisation, from the Ancient Greeks to the present day. As a core craft technology, pottery has underpinned domesticity, business, religion, recreation, architecture, and art for millennia. Indeed, the history of ceramics parallels the development of human society. This fascinating and very human history traces the story of ceramic art and industry from the Ancient Greeks to the Romans and the medieval world; Islamic ceramic cultures and their influence on the Italian Renaissance; Chinese and European porcelain production; modernity and Art Nouveau; the rise of the studio potter, Art Deco, International Style and Mid-Century Modern, and finally, the contemporary explosion of ceramic making and the postmodern potter. Interwoven in this journey through time and place is the story of the pots themselves, the culture of the ceramics, and their character and meaning. Ceramics have had a presence in virtually every country and historical period, and have worked as a commodity servicing every social class. They are omnipresent: a ubiquitous art. Ceramic culture is a clear, unique, definable thing, and has an internal logic that holds it together through millennia. Hence ceramics is the most peculiar and extraordinary of all the arts. At once cheap, expensive, elite, plebeian, high-tech, low-tech, exotic, eccentric, comic, tragic, spiritual, and secular, it has revealed itself to be as fluid as the mud it is made from. Ceramics are the very stuff of how civilized life was, and is, led. This then is the story of human society's most surprising core causes and effects.
"There are over 350 new illustrations and 75 new artists featured in this new updated edition. The result is a breathtaking look at the exciting and innovative work that is currently being done internationally in this field." "This substantially revised edition presents a wide diversity of porcelain objects which will both inspire and enthral. A fascinating read not only for any potter working in porcelain but also for collectors and anyone interested in fine ceramics."--Jacket.