Live Form

Author: Jenni Sorkin
Publisher: University of Chicago Press
ISBN: 9780226303253
Size: 12.25 MB
Format: PDF, ePub, Docs
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Ceramics had a far-reaching impact in the second half of the twentieth century, as its artists worked through the same ideas regarding abstraction and form as those for other creative mediums. Live Form shines new light on the relation of ceramics to the artistic avant-garde by looking at the central role of women in the field: potters who popularized ceramics as they worked with or taught male counterparts like John Cage, Peter Voulkos, and Ken Price. Sorkin focuses on three Americans who promoted ceramics as an advanced artistic medium: Marguerite Wildenhain, a Bauhaus-trained potter and writer; Mary Caroline (M. C.) Richards, who renounced formalism at Black Mountain College to pursue new performative methods; and Susan Peterson, best known for her live throwing demonstrations on public television. Together, these women pioneered a hands-on teaching style and led educational and therapeutic activities for war veterans, students, the elderly, and many others. Far from being an isolated field, ceramics offered a sense of community and social engagement, which, Sorkin argues, crucially set the stage for later participatory forms of art and feminist collectivism.

Live Form

Author: Jenni Sorkin
Publisher: University of Chicago Press
ISBN: 9780226303116
Size: 14.59 MB
Format: PDF
View: 25

There has been a recent move in art history to reconsider craft practices in light of their relationships to the twentieth-century artistic avant-garde. This book focuses on (1) how ceramics culture evolved in the US when Bauhaus artists and designers emigrated from Europe during the run-up to WWII and (2) the understudied role of women artists in establishing ceramics as a sophisticated medium in the post-War years. No surprise: Black Mountain College is at the heart of much of it. Throughout, Sorkin s concern is how ceramics came to influence what is today called process art and performance (for example, Martha Rosler s video Semiotics of the Kitchen, 1975). In both, the act of making or producing dominates as art over any resulting object. The book centers on three case studies of women who advanced ceramics as an artistic medium in this country: Marguerite Wildenhain, a Bauhaus artist who taught briefly at Black Mountain before starting an important pottery in California called Pond Farm and writing several influential books; M.C. Richards, who taught English at the University of Chicago and then literature and ceramics at Black Mountain College and who collaborated with Robert Rauschenberg, Merce Cunningham, and their coterie; and Susan Peterson, famous for teaching a ceramics class on TV in the 1960s, but who also taught in New York and then at Chinouard where she established their distinguished ceramics program and trained artists John Mason and Ken Price. Mason and Price went on to work almost exclusively in ceramics, but they used the material to make sculpture rather than functional pottery"

Live Form

Author: Jenni Sorkin
Publisher: University of Chicago Press
ISBN: 9780226303116
Size: 11.80 MB
Format: PDF, Docs
View: 37

There has been a recent move in art history to reconsider craft practices in light of their relationships to the twentieth-century artistic avant-garde. This book focuses on (1) how ceramics culture evolved in the US when Bauhaus artists and designers emigrated from Europe during the run-up to WWII and (2) the understudied role of women artists in establishing ceramics as a sophisticated medium in the post-War years. No surprise: Black Mountain College is at the heart of much of it. Throughout, Sorkin s concern is how ceramics came to influence what is today called process art and performance (for example, Martha Rosler s video Semiotics of the Kitchen, 1975). In both, the act of making or producing dominates as art over any resulting object. The book centers on three case studies of women who advanced ceramics as an artistic medium in this country: Marguerite Wildenhain, a Bauhaus artist who taught briefly at Black Mountain before starting an important pottery in California called Pond Farm and writing several influential books; M.C. Richards, who taught English at the University of Chicago and then literature and ceramics at Black Mountain College and who collaborated with Robert Rauschenberg, Merce Cunningham, and their coterie; and Susan Peterson, famous for teaching a ceramics class on TV in the 1960s, but who also taught in New York and then at Chinouard where she established their distinguished ceramics program and trained artists John Mason and Ken Price. Mason and Price went on to work almost exclusively in ceramics, but they used the material to make sculpture rather than functional pottery"

Revolution In The Making

Author: Paul Schimmel
Publisher: Skira - Berenice
ISBN: 8857230651
Size: 16.89 MB
Format: PDF, ePub, Mobi
View: 92

Half theWorld traces the ways in which women artists deftly transformed the language of sculpture to invent radically new forms and processes that privileged studio practice, tactility and the artist's hand. The volume seeks to identify the multiple strains of proto-feminist practices, characterized by abstraction and repetition, which rejected the singularity of the masterwork and rearranged sculptural form to be contingent upon the way the body moved around it in space. The catalogue begins in the immediate post-war era, with the first section spanning the late 1950s through the 1950s. Featuring historically important predecessors including Ruth Asawa, Lee Bontecou, Louise Bourgeois, Claire Falkenstein and Louise Nevelson, this section examines abstraction based on the human figure and the influence of the unconscious. The second section covers the decades of the 1960s and 1970s, and includes Magdalena Abakanowicz, Lynda Benglis, Heidi Bucher, Gego, François Grossen, Eva Hesse, Sheila Hicks, Marisa Merz, Mira Schendel, Michelle Stuart, Hannah Wilke, and Jackie Winsor, a generation of post-minimalist artists who ignited a revolution in their use of process-oriented materials and methods. In the 1980s and 1990s, the period explored in the third section, artists Phyllida Barlow, Isa Genzken, Cristina Iglesias, Liz Larner, Anna Maria Maiolino, Senga Nengudi, and Ursula von Rydingsvard moved beyond singular, three-dimensional objects toward architectonic works characterized by repetition, structure, and design. The final section is comprised of post-2000 works by artists Karla Black, Abigail DeVille, Sonia Gomes, Rachel Khedoori, Lara Schnitger, Shinique Smith, and Jessica Stockholder, artists who create installation-based environments, embracing domestic materials and craft as an embedded discourse.

Contemporary Clay And Museum Culture

Author: Christie Brown
Publisher: Routledge
ISBN: 9781317160861
Size: 11.91 MB
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View: 78

This groundbreaking book is the first to provide a critical overview of the relationship between contemporary ceramics and curatorial practice in museum culture. Ceramic objects form a major part of museum collections, with connections to anthropology, archaeology and other disciplines that engage with the cultural and social history of humankind. In recent years museums have provided the impetus for cutting-edge artistic practice, either as a response to particular collections, or as part of exhibitions. But the question of how museums have staged contemporary ceramics and how ceramic artists respond to museum collections has not been the subject of published research to date. This book examines how ceramic artists have, over the last decade, begun to animate museum collections in new ways, and reflects on the impact that these new initiatives have had in the broad context of visual culture. Ceramics in the Expanded Field is the culmination of a three-year AHRC funded project, and reflects its major findings. It brings together leading international voices in the field of ceramics, research undertaken throughout the project and papers delivered at the concluding conference. By examining the benefits and constraints of interventions and the dialogue between ceramics and museological practice, this book will bring focus to an area of museology that has not yet been theorized, and will contribute to policy debates and art practice.

Sloppy Craft

Author: Elaine Cheasley Paterson
Publisher: Bloomsbury Publishing
ISBN: 9781472533074
Size: 16.30 MB
Format: PDF, ePub
View: 40

Sloppy Craft: Postdisciplinarity and the Crafts brings together leading international artists and critics to explore the possibilities and limitations of the idea of 'sloppy craft' – craft that is messy or unfinished looking in its execution or appearance, or both. The contributors address 'sloppiness' in contemporary art and craft practices including painting, weaving, sewing and ceramics, consider the importance of traditional concepts of skill, and the implications of sloppiness for a new 21st century emphasis on inter- and postdisciplinarity, as well as for activist, performance, queer and Aboriginal practices. In addition to critical essays, the book includes a 'conversation' section in which contemporary artists and practitioners discuss challenges and opportunities of 'sloppy craft' in their practice and teaching, and an afterword by Glenn Adamson.