Ceramic artists list
> Ceramic artists list 100. Tim Rowan 99. Graciela Olio 98. Michal Fargo 97. Ryan Blackwell 96. Ellen Schön 95. Francesco Ardini 94. David Gallagher 93. Elizabeth Shriver 92. Jason Hackett 91. Patricia Sannit 90. Bente Skjøttgaard 89. Steve Belz 88. Ruth Power 87. Jenni Ward 86. Liliana Folta 85. Kira O'Brien 84. Annie Woodford 83. Kwok-Pong Bobby Tso 82. Bogdan Teodorescu 81. Kimberly Cook 80. Paula Bellacera 79. Debra Fleury 78. Cindy Billingsley 77. David Gilbaugh 76. Teresa & Helena Jané 75. Marianne McGrath 74. Suzanne Stumpf 73. Deborah Britt 72. Kathy Pallie 71. Els Wenselaers 70. Kjersti Lunde 69. Brian Kakas 68. Marie T. Hermann 67. Mark Goudy 66. Susan Meyer 65. Simcha Even-Chen 64. Barbara Fehrs 63. Shamai Gibsh 62. Natalia Dias 61. Bethany Krull 60. Amanda Simmons 59. Arthur Gonzalez 58. Chris Riccardo 57. Akiko Hirai W 56. Johannes Nagel 55. Rika Herbst 54. Liza Riddle 53. Chang Hyun Bang 52. Virginie Besengez 51. Jasmin Rowlandson 50. Chris Wight 49. Wim Borst 48. Rafael Peréz 47. Guðný Hafsteinsdóttir 46. Cathy Coëz 45. Merete Rasmussen 44. Carol Gouthro 43. JoAnn Axford 42. David Carlsson 41. Margrieta Jeltema 40. David Roberts 39. Patrick Colhoun 38. Abigail Simpson 37. Signe Schjøth 36. Katharine Morling 35. Dryden Wells 34. Antonella Cimatti 33. Cynthia Lahti 32. Carole Epp 31. Blaine Avery 30. Ian Shelly 29. Jim Kraft 28. Wesley Anderegg 27. Connie Norman 26. Arlene Shechet 25. Young Mi Kim 24. Jason Walker 23. Peter Meanley 22. Shane Porter 21. Jennifer McCurdy 20. Yoichiro Kamei 19. Debbie Quick 18. Ian F Thomas 17. John Shirley 16. Grayson Perry 15. Vivika & Otto Heino 14. Georges Jeanclos 13. Daniel Kavanagh 12. Nagae Shigekazu 11. Matthew Chambers 10. Tim Andrews 9. Claire Muckian 8. Adam Frew 7. Maciej Kasperski 6. Roxanne Jackson 5. Keith Schneider 4. Celeste Bouvier 3. Tim Scull 2. Kim Westad 1. Sara Paloma

Traditional culture

Review: Mungyeong Traditional Tea Bowl Festival

Article by Shamai Sam Gibsh & Stephanie Young
Published in Ceramics Now Magazine Issue 2

A movie set, created in the style of a sixth century village, within forests and farmland, cherry blossom and azaleas, in valleys and mountains centrally located in South Korea, is the stage for this amazing Mungyeong Tea Bowl Festival. The City of Mungyeong and the South Korean government sponsor the festival, now in its eighth year, and focus on reviving Korean Tea ceremony traditions, as well as the ceramic ware made for it.

Bongam Temple, Mungyeong Traditional Tea Bowl Festival

Ceramic artists (28) from all over the world were invited this year (2012) to participate in this festival, and to display their tea bowls and demonstrate their techniques, as well as to join local artists in various activities related to the traditional Tea Bowl ceremonies. Our tea bowls were available for show and sale, and some selected tea bowls were entered into a competition and are now part of the Mungyeong Tea Bowl Museum’s permanent display, alongside the local artists collection. The museum also includes a large studio and teaching center and an impressive traditional Korean Noborigama kiln.

There were many buildings filled with about 50 local masters and potters, selling traditional or modern artistically interpreted Korean wares. There were of course many buildings holding traditional tea ceremonies, for the casual afternoon sip or a more extended, fully traditional affair.

We watched artists fire a Noborigama kiln as it has been fired for thousands of years. Local clay and raw materials transformed into wares of the same timelessness as it has been done for centuries. The Mungyeong area is the center of tea bowl making in South Korea and there are many very talented masters, each with his own studio and at times a large display room and even a museum.

One such artist is Oh Soon-Taek, a self taught ceramicist who originally began his creative endeavors as a painter; he learned the nature of the medium “from the world”. Some of the most striking pieces among his collection were the very small, almost miniature tea sets, each executed with perfect craftsmanship. We were fortunate to join Oh Soon-Taek for tea ceremony on a number of occasions, to see the inherent beauty of his work as it fulfilled its function. He masters a variety of glazes and forms in his collection, leaning more to simple aesthetics, so one can admire the form and function of his meditative work, and appreciate his respect to traditional ware, in spite of the adaptation to modern life. Oh Soon-Taek makes his own clay and glazes from the nature around his house, and he built his own kiln. He sells his work only from his house and workshop and has a solo exhibition once every 10 years.

Han-Bong Cheon - Intangible Cultural Treasure, Noborigama kiln

Our hosts went to a great effort to bring us to a number of potteries and kiln sites further spread through the countryside. One such visit was to the studio of Han-Bong Cheon. Our busload of international artists came upon a small, slight man of 80, stocking an enormous Noborigama kiln with the ferocity of a teenage apprentice. Han-Bong Cheon, who became an Intangible Cultural Treasure in 1996, and his daughter Kung Hee Cheon have been making tea ware at their home outside of Mungyeong for 64 years. Tea ceremony has been historically conducted by monks in the Buddhist temples, where Han-Bong Cheon learned and mastered it. Han Bong’s mission was to reintroduce to South Korea the know how of the old Koryo tea bowl tradition, that was at its peak production during the 17th century and was lost during the introduction of mass production.

He is also considered today as the artist who revived the Maksabal - “Bowl for Anything” - made for all purposes. Koreans use Maksabal as a bowl for water, soup and tea, appreciating its endless and enduring value. In addition, in order to perfect it, he traveled to Japan to learn the making of tea wares from Mr. Tokuro from Setto Mino. Han-Bong Cheon’s work masterfully explores the reserved aesthetics of Korean tea ware. His daughter Kung Hee Cheon displayed and sold both hers and her father’s wares at the festival. Her work adds a feminine touch and an additional dimension to the traditional male craft.

Another, of many, amazing places we visited was the home, studio, and gallery of Professor Tae-Keun Yoo. Professor Yoo, as we call him, teaches ceramics at the local university, and at most times was accompanied by a group of devoted young potters-students.

Read More

  • Uku Rere: Nga Kaihanga Uku and beyond / Whangarei Art Museum, New Zeeland

    Uku Rere: Nga Kaihanga Uku and beyond, Whangarei Art Museum

    Uku Rere: Nga Kaihanga Uku and beyond / Whangarei Art Museum, New Zeeland
    November 11, 2013 - February 16, 2014

    Whangarei Art Museum is the first venue to host this ground-breaking touring exhibition after a highly successful show at Pataka Art+Museum in partnership with Toi Maori. Uku Rere features contemporary ceramics by the five principal members of Nga Kaihanga Uku: Baye Riddell, Manos Nathan, Colleen Urlich, Wi Taepa and Paerau Corneal. Both Colleen Urlich and Manos Nathan are from the Te Tai Tokerau region and this important exhibition is the first major survey of contemporary Maori ceramics and showcases the strength of Maori ceramic art in New Zealand’s contemporary art scene. The exhibition is displayed in the Younghusband Gallery and accompanied by an extensive catalogue available at the art museum.

    The exhibition also features Manos Nathan’s unique sculptural work Kaitiaki, which stands to welcome visitors at the Whangarei Art Museum’s entrance. This is his largest work to date and was commissioned in 2002 by the Whangarei Art Museum with assistance from Te Waka Toi – Creative NZ Arts Council. The artist chose the concept of ‘kaitiakitanga’ as the theme of the art work, portraying both welcome and guardianship.

    The exhibition coincides with Kokiri Putahi – the 7th International Gathering of Indigenous Artists, organised by Te Atinga the Contemporary Visual Arts committee of Toi Maori Aotearoa in which both Colleen Urlich and Manos Nathan are members of. Since the first gathering in 1995 the committee has worked to develop Maori contemporary art practice for both emerging and established artists working in a range of media, and next year the gathering will also coincide with the January 2014 Ngapuhi Festival in Kaikohe.

    The concurrent exhibition held in the Mair Gallery, Salon to Marae – first glimmerings of a Maori Modernism will feature works from the 1950s-1970s by artists Ralph Hotere, Clive Arlidge and Selwyn Wilson. A selection of Wilson’s early ceramics from the family’s private collection adds a unique dimension to the story of Maori ceramic artists. Selected works from Ross T Smith’s two photographic series Hemi Tuwharerangi Paraha (1998) and Stillness Falls Gradually (2000) will also be on display, adding to the significant development of Maori contemporary art practice.

    Uke Rere: Nga Kaihanga Uku illuminates the strength of the contemporary Maori ceramic movement in New Zealand. From Taepa’s chunky, rugged pots full of personality to the refined elegance of Nathan’s sculptural pots, the exhibition showcases the remarkable vitality and diversity of the individual practices of the five influential artists. Over the last twenty-five years these artists have redefined and expanded ceramic art - imbuing it with indigenous concepts and a deep commitment to Maori culture.

    Read More

  • All work is copyright of respective owner, otherwise © 2014 Ceramics Now. Website powered by Tumblr.