Two potters with well-established careers and reputations have been collaborating for almost three decades. An exhibition, book and DVD celebrate this partnership.
How does a small nonprofit ceramic art center make a large impact on its field and its community? Collaboration.
The old adage that time equals money is especially true in any labor-intensive activity. Making pottery is certainly an endeavor that requires direct labor to produce pottery for sale. Handmade pottery by definition requires physical attention from the potter during many stages of the operation.
The strength of Bartel’s work lies in its ability to straddle the line between humor, religious and historical imagery, and the familiar. His sculptures depict vulnerable human forms that are often changed by outside influences.
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, cheap, safe and lacking a personal connection to the user. This critical definition goes back to William Morris’ 19th-century attack on industrialization and his subsequent championing of craft.
Three dimensional printing can be used to create ceramic-art objects, out of three different types of slip bodies, and can be finished using standard ceramic equipment and processes.
As part of our Working Potter series, successful potter Simon Levin shares his approach to the handmade pottery business.
Whether you’re talking about the pottery wheel or a rapid prototyping machine, a pit in the ground or a tunnel kiln, technology is closely tied with the production of ceramic objects.