Michael Kline considered every detail when designing these bowls, including how they would stack when not in use.Something every functional potter should consider when designing pots that are intended to be used, is how well the pot works with the anatomy of the user. In other words, are your pots comfortable and easy to use?… Read More »
Criticism and Aesthetics
Looking for informed criticism on contemporary ceramic art? Look no farther. Our archives contain some of the best writing on ceramic art including timely exhibition reviews and highlights, insightful topical essays and artist profiles – all with gorgeous full-color images of some of the most exciting work in ceramics. If you are passionate about clay, learn about the cultural, social and aesthetic issues directly related to studio ceramics right here. And don't forget to download your free copy of Emerging Ceramic Artists: New Pottery and Ceramic Sculpture to see work by the latest and greatest new talents in the ceramic arts field.
As we all know, creative marketing is key when you are trying to make a living selling handmade pottery, or any other handmade item for that matter. You can make beautiful work, but if you don’t do anything to get eyes on it, it’s not going to go anywhere. Not only does potter Ayumi Horie… Read More »
Why would a potter change a very successful, established body of work in order to move in another direction? That’s one of the questions Nick Joerling was asked in the March 2011 issue of Ceramics Monthly. In today’s post, we’ll share the interview and show you some of the old work and the new. … Read More »
There are many design considerations to keep in mind when when making functional tableware. A lot of them may seem like minor details, but a comfortable handle, or a lip that is angled just right on a mug can separate the so-so from the super special. We all have our favorite mugs that we reach… Read More »
The biggest challenge I face in the studio is focus. Being exposed to a vast array of incredible work and cool techniques day in and day out, as I am here at Ceramic Arts Daily, is both a blessing and a curse. Often times, when I get to the studio I can’t figure out what… Read More »
Today I wanted to point out a new feature on Ceramic Arts Daily: the Ceramics Monthly Master Class section. If you haven’t noticed already, you’ll find a link to the master class section on the right side navigation on CAD. The articles in this section contain advanced technical and critical content from the pages of… Read More »
I use one tool everyday, on every pot or sculpture, whether I made it or not. This pervasive tool is critical analysis, and I use it to assess the pot I am currently throwing, the work I made yesterday and the work I made years ago.
In balancing the challenges of making and marketing, many potters have turned to industrial business models and processes while maintaining a high level of quality in design and production.
With the cup moving from the table to the shelf, the focus of ceramic production has shifted from utilitarian to decorative. The art market’s continual search for perfection has stripped bowls, cups, and plates of their personal history. Utilitarian objects carry the story of their use in chips and stains that are deemed imperfections by collectors and investors.
Of all the well-known Japanese ceramic artists of the past four hundred years, men like Raku ware’s Chojiro, the Kyoto designers and decorators Ninsei Nonomura and Kenzan Ogata, and the innovative and technically brilliant Kozan Makuzu, by far the most famous and influential has been the twentieth century folk craft (mingei) movement potter Shoji Hamada (1894-1978).