Those pots have something wrong with them and are thus not for sale. Since there is something wrong with them, and each bear my name, it would cost a large amount of money to convince me to let them out that door. It would be much cheaper for you to wait until I made a bowl that I am happy with.
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.
I have a confession to make: If you’re not the “underdog,” I’m probably not rooting for you. Please don’t take it personally. Although I sincerely respect the talent, education, training, and skills associated with a variety of expertise, I typically cheer on the underdog, whomever that may be. Underdogs, let us not forget, often can… Read More »
The dozen or so stained earthenware sculptures revolved around human heads on pedestal-posts or wall-mounted and clusters of bird beaks (some of which were raku-fired) also mounted on the wall. The results were uniformly dark, foreboding, and very promising.
As a field, we are particularly good at time travel, but really only in one direction. We can, and should, start to look forward-further and more often than we do. Many potters define their work by how it differs from industrially made work. For example, the industrial pot is seen as flawless, boring, identical, sterile,… Read More »
The author trimming goblets in his studio in Mashiko, Japan. Go sun sara thrown dessert plate, 6 in. (15 cm) in diameter, porcelain with slip trailing and tenmoku glaze, 2007. Cuisine by Chef Morishige at restaurant La butte boisée. Nana sun hira zara, 8 in. (21 cm) in diameter, mino porcelain, shigaraki nami… Read More »
An exploration into the history, near extinction and resurgence of what many consider to be the pinnacle of celadon glazes.
A discussion of the cultural and historical forces surrounding the production of Pennsylvania salt-glazed ware, why and how it ceased, and what it means to the potters of today.
with The Wind in the Jug
From top to bottom: Asian spouted vessel, turned wooden lid, woven handle, 17 in. (43 cm) in height. Wood fired and lightly salt glazed jug, 16 in. (41 cm) in height, ca. 1790–1820. Stoneware butter churn that collapsed in the firing from too much heat and weight on top; it was fired lip to… Read More »
A potter’s perspective on being “the hunter and the hunted” in the collecting world, and what it really means to collect pots.
The annual exhibition, which takes place at the National Council on Education for the Ceramic Arts conference, occupied three gallery rooms at the Pittsburgh Center for the Arts this year. The jurors share their thoughts on the work and their reflections on ceramic education.