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

exhibitions

Yô Akiyama exhibition / ARTCOURT Gallery, Osaka, Japan

Yo Akiyama exhibition, ARTCOURT Gallery Osaka

Yô Akiyama exhibition / ARTCOURT Gallery, Osaka, Japan
December 3, 2013 - January 25, 2014

Yo Akiyama established his signature style of sculptural ceramic creation while still in school. His creative mind lies beneath the awareness by facing the nature and energy of clay, expressed through large scale works. We are excited to introduce Akiyama’s new works in this exhibition showcasing the roots, that is the artery of Akiyama’s powerful creation as well as Akiyama’s now as his next step in his career.

Akiyama’s early works were mysterious objects created through black pottery. His student works done in black pottery show influences from primitivism that he was interested in, modern sculptors such as Brâncuşi and Arp, and his professor Kazuo Yagi, but yet to discover his own expression or concept through clay. Those early pieces are gone; however, Akiyama recalls that he can see the presence of Akiyama that has lead to himself now. This discovery lead him to the new set of works, in which the artist re-creates his early black pottery works with his current skillsets and by revisiting his own 1970s. Akiyama titled this new challenge of regenerating or redeveloping his roots “Incubation” (or Houran no Katachi in Japanese) and introduces about 10 new pieces in this exhibition.

Akiyama developed several series of works that express the ever-changing shape of earth with unique creative challenges such as nature vs. human, birth vs. decay, internal vs. external by fusing the phenomenon of soil and thoughts on creation. The series titled “Metavoid,” which began in 2003, puts focus on an enclosed space where objects intervene and how we perceive such space. Akiyama would make a large bowl on a potter’s wheel, then reverse its inside and outside. This act brings a change in spatial relation of the bowl and the space it holds within (the void). The artist would then place this bowl in an even larger vessel – an exhibition space, the other void. Akiyama uses clay as a vehicle to explore physical shapes to his pursuit ranging from multi-layered texture in motion to human perception of space. We are introducing 5 new large scale pieces ranging from 100 cm to 180 cm from the series “Metavoid.”

Akiyama began making a series of slabs with prints of spider webs as his side work around 1993 where the artist began to depart from his signature black pottery works. The series captured the natural beauty of spider webs Akiyama found almost every morning around his home from early summer to fall. About 50 creations from this series will gather in our gallery for public viewing for the first time. They can be seen as an organic map that connects the roots and current of Akiyama’s creation.

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  • 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.

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  • Mud and Water exhibition / Rokeby Gallery, London

    Mud and Water exhibition, Rokeby Gallery London

    Mud and Water exhibition / Rokeby Gallery, London
    December 16, 2013 - March 7, 2014

    ROKEBY‘s inaugural exhibition in its new gallery space looks to the history of British studio ceramics and the Modernist rhetoric used by figures associated with the movement. Including work by a selection of British Studio Potters alongside contemporary artists working across media, the exhibition investigates a current interest in process, materiality and truthfulness to medium.

    Exhibited artists: Jack Brindley, Clive Bowen, Jane Bustin, Michael Cardew, Edwin Beer Fishley, The Granchester Pottery, Jessica Jackson Hutchins, Bernard Leach, Janet Leach, Kate Newby, Chris Prindl, Gideon Rubin, Nicola Tassie, Jesse Wine, Mizuyo Yamashita

    Despite a recent tendency to see ceramics and the modern British art movement as separate disciplines the two are closely interwoven. The approaches of artists working in clay such as Bernard Leach, considered the father of the British studio pottery, and Michael Cardew (1) mirrored the Modernist ideas gaining currency in Britain in the early 1920’s in both painting and sculpture. Post war art in Britain drew upon - amongst other things - the tradition of the handmade. This is especially true in St Ives where Bernard Leach chose to set up his first pottery. Leach united the classical pottery traditions of Asia (2) including their taste for imperfections with those of English slipware potters to define the modernist vernacular revival.

    The exhibition brings together a group of cross-generational artists all of whom are experimental in their approach. When Leach and Cardew looked to the history of slipware in Britain they were never nostalgic (3). Rather they combined pre-industrial techniques with a Modernist spirit; combining raw materials with the performative act of making and inherited forms with a simpler more direct language.

    No straightforward link is suggested in bringing the artists together in this exhibition, but an inheritance of concerns and a shared interest in the handling of material and unpredictable processes can be perceived, regardless of their chosen medium. It is the principles and values of heterogeneity, destabilization and irrationality that interest them all, a questioning of the distinctions between art and craft and a concern for the physical - and especially the human body - in the making and viewing the work.

    (1) Cardew was a pupil of Leach’s in St Ives from 1923-26.
    (2) Leach was born in Hong Kong but spent his first years in Japan. He attended the Slade, London and in 1909 arrived in Japan for a second time.
    (3) The earliest work in the exhibition is an earthenware slipware mug by Edwin Beer Fishley from Michael Cardew’s private collection. Cardew had a particular affinity for Edwin Beer Fishley and counted the rural potter as one of his most important influences.

    With thanks to Timothy Taylor Gallery and David Bowie for loaning work to the exhibition and Simon Jones for providing exhibition furniture.

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  • HYPERCLAY: Contemporary Ceramics / Gladstone Regional Art Gallery & Museum, Gladstone, Australia

    Roderick Bamford at HYPERCLAY: Contemporary Ceramics exhibition, Gladstone Regional Art Gallery Museum

    HYPERCLAY: Contemporary Ceramics / Gladstone Regional Art Gallery & Museum, Gladstone, Australia
    December 13, 2013 - March 2014, 2014

    RoHYPERCLAY: Contemporary Ceramics investigates the field of ceramics, focusing on new attitudes, techniques and technologies that are being embraced by artists in the 21st century. Walter Auer, Roderick Bamford, Stephen Bird, Jacqueline Clayton, Andrea Hylands, Addison Marshall, Pip McManus and Paul Wood all ignite the imagination with the potential of clay through their work. As the prefix ‘hyper’ suggests, HYPERCLAY presents clay-based work where the medium has been amplified, extended and intensified to produce work that will delight, provoke and surprise. New technologies, the process of making, and the re-purposing of materials to create new forms are the delicate threads that bind the works in HYPERCLAY together.

    A collection of 35 short videos have been produced to accompany the work in HYPERCLAY. These include interviews with the artists, curators, academics, collectors, gallerists and students. All videos are available to view through iPads in the exhibition space, offering the viewer different perspectives on the works as well as deeper, richer connections to the artists.

    Roderick Bamford explores the process of additive fabrication, creating a series of ceramic sculptures using a modified rapid prototyping printer. Bamford sourced the parts for his 3D printer online, gradually building a machine that could print with clay. The result is a device that affords Bamford an expanded making process that incorporates both analogue and digital techniques.

    Stephen Bird, better known for his satirical figurative ceramics, presents two works that also play at the intersection of the digital and the handmade. Wanting to reveal the sequence of events that takes place when transforming raw clay into a finished sculpture, Bird spent several intensive weeks in his studio creating the stop-frame clay animation What are you laughing at?. The work is a re-telling of the Creation Story through the lens of the post-industrial world. It also documents Bird’s making process, capturing it as performance. Similarly, I Just Don’t Believe in Ceramics elevates ceramic surface decoration from static and permanent to evolving virtual design.

    New Warriors by Andrea Hylands captures the performance of material itself. Her fragile forms are the product of bone china slip poured into a mould and then removed at varying durations. This process is a balance between the spontaneity of movement and material, and the precision of the artists’ hand.

    Ceramicist Walter Auer is interested in the transformation and preservation of objects through a petrifaction process that he has been experimenting with for nearly 10 years. Auer soaks discarded soft toys in watered-down clay (terra sigillata) for weeks – even months - before submitting them to a grueling firing process.

    Similarly, Pip McManus is interested in transformation. Combining clay, video, sand and water, McManus has created a video work entitled Watershed 2 that engages with ideas of permanence and organic forms. In Watershed, the ancient medium of clay is effortlessly in conversation with the contemporary medium of video.

    Paul Wood scours op shops, thrift stores and neighbourhood gardening centres for pre-loved ceramic objects that he then re-fires, melts and slumps to create dramatic new sculptures. For Guardians of a Goddess Wood has crafted an ode to the ornamental water features that proudly sat in the neighborhood gardens of his childhood.

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  • COMMON GROUND: Craftsmanship in Ceramics, Jewellery, Basketry and Wood / Oxford Ceramics Gallery, Oxford, UK

    COMMON GROUND exhibition, Oxford Ceramics Gallery

    Craftsmanship in Ceramics, Jewellery, Basketry and Wood / Oxford Ceramics Gallery, Oxford, UK
    December 1, 2013 - January 12, 2014

    Oxford Ceramics is staging its first exhibition of contemporary applied art in December, with ceramics, wood, basketry and jewellery by some of the UK’s most distinguished artists. The exhibition celebrates the richness and diversity of their work, as well as a shared quality of fine craftsmanship. It will be on show at Oxford Ceramics Gallery until January 12, 2014.

    Ceramics are central to the exhibition, with exciting new work by Carina Ciscato and Tanya Gomez. Carina Ciscato is one of the most individual voices in the world of contemporary ceramics. Her architectural vessel forms are constructed from different thrown components, each with its own rhythm and pattern of throwing rings. Her approach is largely intuitive, and her exciting, fluid forms evolve in the making.

    Bold saturated colour is a trademark of Tanya Gomez’s cylindrical, flat-topped pots. Recently, however, she has introduced an altogether more restrained palette of celadon, white and coal black. The smooth openings of her coloured pieces have been replaced by a sharp, torn gash, adding an immediacy and edge to her work.

    Wood as an art form has been enjoying something of a renaissance in recent years, and exhibitor Jim Partridge - renowned internationally for his serene, beautifully crafted work - is one of its most compelling exponents. His spherical bowls and open vessels are carved from oak, then scorched and polished to a rich, deep black or washed in matt white. The striking studio furniture made by Partridge and Liz Walmsley is also represented in the show - minimal yet monumental, with a quiet, strong presence.

    Irish wood turner Liam Flynn makes smooth, rounded vessels in which the character and grain of the wood is integral to the design of the piece. He works mainly in Irish oak, often ebonised, with fine detailing: his bowls may be footed, fluted or double rimmed, with a gently undulating profile.

    Wendy Ramshaw CBE is acknowledged as one of the greatest jewellery designers of our time, whose work is represented in some 70 public collections worldwide. She is best known for her signature ring sets, which she displays on elegant, tapered stands. These are, in her own words, “both a sculptural object and a collection of rings”, which can be worn singly or in different combinations to suit the wearer.

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  • Ceramics/Glass / Ukrainian Institute of Modern Art, Chicago

    Ceramics/Glass exhibition, Ukrainian Institute of Modern Art Chicago

    Ceramics/Glass / Ukrainian Institute of Modern Art, Chicago
    December 6, 2013 - February 2, 2014

    Ukrainian Institute of Modern Art in Chicago (UIMA) presents the exhibition Ceramics / Glass. This exhibit focuses on the medium of ceramic or glass in contemporary art – mediums that require high temperatures, special tools, kilns and specialized studios. UIMA has selected some distinctive personal styles from numerous glass / ceramics studios in Chicago and from artists working in national and international cities.

    Brent Rogers, Alex Trommler and Aaron Wolf-Boze are from Chicago, showcasing art glass that was created in Ignite Glass Studios. Ignite Glass Studios (founded 2012) is already building reputation as a ‘hot’ art glass studio in the U.S.. Eric Bladholm is from Chicago Glassworks, a state of the art glass blowing facility and artist’s studio, custom built into a former iron foundry. He will present glass works combined with various metals. Nikki Renee Anderson will present multiple piece ceramic installation and Robert Pulley will exhibit one of his larger ceramic garden sculptures. Both artists are from Chicago Sculpture International and focus on the sculptural aspect of working with ceramics. Michael Janis, an ex-Chicago artist (now Co-Director of the Washington Glass School in Washington, DC) will present fused glass with glass powder imagery. Xavier Monsalvatje lives in Spain and works in traditional ceramic techniques which reflect industrial aesthetic designs reminiscent of the works of Mexican Muralists. Yurij Musatov and Anna Lypko, both from Ukraine, are two contemporary artists working in ceramics.

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  • Esencia 2013 by Sanserif Creatius: Japanese and Valencian Craftsmanship / Valencia, Spain

    Esencia 2013 by Sanserif Creatius: Japanese and Valencian Craftsmanship

    Esencia 2013 by Sanserif Creatius: Japanese and Valencian Craftsmanship / Valencia, Spain
    November 28, 2013 - February 28, 2014

    The second edition of the Esencia project is inspired by the reflection of Japanese craftsmanship in the Valencian one and coordinated by Sanserif’s team of designers who worked together with 20 artisans from Alicante, Castellon and Valencia. The aim of this exhibition is to update the image of craftsmanship through the development of a heterogeneous universe of objects that transmit contemporary messages and meet the needs of contemporary society, by the use of traditional techniques and processes.

    This investigation project, which annually turns into a travelling exhibition and was awarded in the last edition of the National Crafts Awards (Spain), has been chosen to be part of the official cultural acts to celebrate the Dual Year Spain-Japan, coinciding with the 400th anniversary of the mission of the Keicho Embassy in Europe.

    Esencia 2013, which will stay in Valencia until the 28th February 2014, follows the same motto than the first edition, that is, to join the forces of craftsmanship and design in order to develop a collection of pieces where we find a hybridization of Japanese and Valencian tradition. The main objective is to make new products that bring additional values to the consumer, include new languages and fit in with new technologies, while having commercial viability.

    The exhibition will show from jewellery to kitchenware, fashion accessories and decoration, all paying homage to the creativity of the craftsmanship of both cultures, in collaboration with different national organizations, like the Spanish Foundation for the Innovation in Crafts (Fundesarte), the Valencian Regional Government –through the Directorate-General of Trade and Consumption- the Gild of Tailors and Couturiers, the Gild of Master Confectioners of Valencia, and artisans of recognised standing like Juan Carlos Iñesta, Sara Sorribes, Marifé Navarro or José Marín, among others.

    Actually, a selection of products from the exhibition will be included in the exclusive collections of Sibarita Shop, the first shop of the Arts and Crafts Centre of the Valencian Community. A place to buy pieces such us the olive oil clock Moments by Sara Sorribes and Sanserif Creatius, that had a honourable mention in the 2013 Tortona Design Week; the sheet music peg Score-clip by Sanserif Creatius, present at the Mussikmese 2013 in Frankfurt, among others.

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  • Susanne Silvertant / Terra Delft Gallery, Delft, the Netherlands

    Susanne Silvertant exhibition, Terra Delft Gallery

    Susanne Silvertant / Terra Delft Gallery, Delft, the Netherlands
    November 30 - December 31, 2013

    Connection is one of the most important themes of Susanne Silvertant’s work. Art is a language for her. With her art she tries to communicate and show who she is. This vision is enhanced by scratching signs in some of her pieces. Signs refer to language that cannot be understood instantly. This is the most intense way of expressing herself.

    Inspiration she gets in the beauty of rugged nature, a garden, a landscape or the structure, atmosphere and colour of a city. During her travels in Spain and Portugal, Susanne was inspired by in the architecture of ancient civilizations, translating it into her own free way into contemporary and personal designs. In her pieces, Susanne tries to reproduce this layeredness and erosion caused by the passage of time.

    Susanne has restricted herself to the raku technique. Since then, this has determined the character of her work to a great extent. Besides her characteristic box shapes, she also makes objects constructed from separate parts. If an object consists of several parts, these must all come out of the kiln intact. If one part breaks, the entire object must be made all over again. Risk, unpredictability and chance are very close in Susanne’s work.

    From 2007 onwards she has added sparkling elements of self-cast glass. The clay seems to form itself around the glass. Weathered glass, found along the coastline, served as the inspiration for this development. By melting the glass in fine sand, Susanne succeeds in approximating this weathered look very closely.

    The combination of ceramics with copper foil or wire cast in glass, resulting in a visual continuity of the separate elements, enhances the layeredness of her pieces. She adds details from nature to her pieces, for instance a twig, a bud or a beautifully weathered tree trunk, imprinting it into porcelain or glass and incorporating it in her pieces. This way she emphasizes the organic nature of her work.

    Gallery hours: Tuesday to Friday, 11.00 - 18.00; Saturday, 11.00 - 17.00.

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  • Keisho-Ha - A New Materialism and the Yufuku Aesthetic / Yufuku Gallery, Tokyo

    Keisho-Ha, A New Materialism and the Yufuku Aesthetic at Yufuku Gallery, Tokyo

    Keisho-Ha - A New Materialism and the Yufuku Aesthetic / Yufuku Gallery, Tokyo
    December 5-21, 2013

    Contemporary Japanese art in the 21st century is heading in a new and unique direction.

    Exhibited artists: Ken Mihara, Shigekazu Nagae, Atsushi Takagaki, Takahiro Yede, Naoki Takeyama, Niyoko Ikuta, Shunichi Yabe, Masaaki Yonemoto, Takafumi Asakura

    Artists are using traditional techniques to create not craft, but objects of self-expression that are very much a type of sculpture that can change space itself. Such artists are pushing the boundaries of their respective mediums to new heights, using new techniques and materials that have not been used before.

    Yet when one takes a step back and views today’s world of contemporary art, it is widely seen that concepts are allowed to run free, whilst the importance of technique and actual artistry are left behind and abandoned. Throughout art history, one can consistently observe an element of craftsmanship in fine art, from the statues of Greece to the frescoes of Italy, from the ink paintings of China to the folding painted screens of Japan. Even in expressionist and abstract painting, the works of Monet, Van Gogh, Picasso, Pollock, Rothko, Bacon and Freud were instilled with an element of technique as a priori. Craftsmanship was a given, but was not the sole emphasis. Technique was simply needed to realise the form of self-expression that they envisioned in their mind’s eye. Technique was not a starting point, but was a necessary means to an end. Likewise, I find that the artists affiliated with Yufuku are not technique-oriented artists, even though many of them are renowned for their technical prowess. Rather, for artists such as Shigekazu Nagae and Ken Mihara, the technique is simply a requirement needed for them to create the clay sculptures that they wish to manifest. Technique, again, is a given, and is only a means to an end.

    If taken in this light, I find that the term craft or the Romanized Japanese word Kogei (synonymous with craft) is gravely inadequate in fully expressing what these contemporary Japanese artists are actually creating. Their works are not craft works, and they are not craft artists. Instead, they are emancipating their art from the fetters of language and from the limitations imposed by the element of categorisation. Such is the progressive moment in today’s Japan. I call them the Keisho-Ha (the School of Form), and can be also expressed as a New Materialism, wherein technique and material are chosen specifically to create sculptural works imbued with self-expression. This is, in a sense, a Return to Innocence, or a revival of artistry within art.

    Today’s Japan is a world where craft does indeed exist vibrantly, and craft is very much alive and well in the likes of the Traditional Art Crafts Exhibition and the Living National Treasure System, along with potters and makers of mass-produced vessels for everyday life. But one cannot continue to categorise the makers of everyday utilitarian tea cups and bowls with the same terminology and language as artists wielding the very same techniques to create works that are worlds apart from these everyday objects. A different expressive process is taking place, and the Japanese are at a loss for properly contemplating and understanding this new movement. To lazily lump everything together as craft or kogei was simply out of convenience, an excuse for the Japanese to stop thinking about the subject that was so obviously unique to their culture, and is so vastly different from traditional Western connotations and demarcations of art and craft.

    "The limits of our language are the limits of our world." Yet if such is true, then why not expand the boundaries of our language and properly express what is happening in our world today?
    Such is the importance of language and ontology.

    The artists assembled in this exhibition are a representation of this new movement in today’s Japan, a movement that Yufuku finds its lifework and reason for existence. This is art. And they are the Keisho-ha. Such is a true return to innocence, an emancipation of art for the sake of art.
    Wahei Aoyama, Owner and Director of Yufuku Gallery

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  • Kerry Jameson: Unbounded / Marsden Woo Gallery, London

    Kerry Jameson: Unbounded exhibition, Marsden Woo Gallery London

    Kerry Jameson: Unbounded / Marsden Woo Gallery, London
    November 7 - December 21, 2013

    Kerry Jameson’s new sculptures have an emotional charge that is presented through a mix of narrative set pieces, tableaux and individual figures. Subjects include historical events and the exploits of folkloric and storybook characters. She derives inspiration from an equally eclectic range of sources, which include portrait paintings, the figures of British myth such as the Burryman and Wicker Man, the work of animator Ray Harryhausen, a fascination with the polychrome religious sculptures of 17th century Spain and the toy collections of the Bethnal Green Museum of Childhood. She explains: ‘A work starts with a thought or feeling, an undigested experience that needs to be worked through.’

    She says: ‘I want to capture life in my work, a sense of movement, the feeling of something living… a constant state of transition.’ This ambition is experienced inthe faintly disquieting feeling that one of her figures might just spring into action. It is also apparent in the attention she gives to keeping the material qualities of a piece ‘alive’. Dissatisfied with the seeming permanence of fired clay, she adds layers and detail through the use of other materials to create nuanced effects. In addition to the ceramic base, components of a figure can be hessian, canvas, wool, fur, wood, paint, seeds, stones and sometimes hyper-real glass eyes.

    Each of the works is either an imaginative exploration of a possibility or reflects on some human idiosyncrasy. In this world part-animal/part-human characters abound. Scenes from the past are also played out, as in her battle sequence based on Pickett’s Charge during the Battle of Gettysburg - representing a famous military blunder of the American Civil War - thereby reflecting on how misplaced human confidence can override logic and reason. With reference to both her subject matter and approach, Jameson admits to an interest in ‘things that aren’t quite right’ and to ‘things that happen on the boundaries’, rather than on firm, fully rational ground. The predominant aesthetic is that of the uncanny – where objects or ideas are recognised as familiar and at the same time experienced as deeply strange.
    Words by Tessa Peters

    Gallery hours: Tuesday to Friday, 11:00 - 18:00 and Saturday, 11:00 - 16:00. The nearest tube stations are Barbican, Farringdon or Old Street.

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  • Ken Mihara: Serenity in Clay / Liverpool Street Gallery, Sydney

    Ken Mihara: Serenity in Clay, Liverpool Street Gallery, Sydney

    Ken Mihara: Serenity in Clay / Liverpool Street Gallery, Sydney
    November 16 - December 12, 2013

    Ken Mihara’s ceramics are a visual ode to his native land, Izumo, Shimane Prefecture, known as the capital of the gods; a land steeped in ancient Japanese myths and legends. The vessels are a culmination of elegant shapes, soft delicate curves, and ancient forms inspired by the surrounding land. Mihara’s striking palette of blues and dark greys intersperses with bursts of beige, gold and orange hues.

    Using clay rich in iron from his native Shimane Prefecture, Mihara constructs each work through an organic creative process. Each piece is hand formed using a coil and oinch technique to create a strong linear quality. Mihara states: “I consider it my job to help the clay express its beauty”, and likewise, “clay leads, and my hands follow. I do not know what shape my work is going to end up even while I am making it.” (Ken Mihara in conversation with Nishi Keiko, An interview with artist Mihara Ken, e-yakimono.net, August 2002) His most recent series titled Kei (Mindscape) generate a sense of movement and vitality through gentle folding and bending. The vessels feature double-walled interiors that swirl and spiral similar to small galaxies. The outer walls subtly embrace a complex interior; whilst at the same time the compositional tension allows the form to unravel.

    Mihara’s most revered series, Kigen (Genesis), are primordial in formation. The structures are symmetrical and balanced, which create a unique combination of subtlety and solidity. The rough, unrefined and grainy surface texture adds to the ancient ambiance. Mihara repeatedly fires the vessels at high temperatures to slowly unlock subtle and soft colours ranging from deep grey to peach to misty whites and purples. Mihara states: “The high degree of chance and serendipity in any firing is far beyond my control.” (Ken Mihara, “Mihara Ken – The power of chance”, Ceramics Art and Perception, issue 73, 2008, p84)

    Ken Mihara was born in 1958 in Izumo, Shimane Prefecture, Japan. After completing his studies in 1982 with Funaki Kenji, Mihara participated in numerous exhibitions and prizes. In 2005, he received a grant from Tomo Museum to travel for 6 months throughout Italy, from Milan, then south to Florence, Rome and Sicily. Mihara has been the recipient of many prizes and awards, including the prestigious Japan Ceramic Society Award in 2008; Paramita Ceramics Competition, Paramita Museum, Japan in 2006; The Energia Art Award in 2002 and the Shizuoka Prefecture’s Cultural Encouragement Award in 2009. Mihara has exhibited internationally with SOFA New York, New York (2008), Galerie Besson, London (2010), and most recently with Joan B Mirviss Gallery, New York (2011). His works are held in public collections including The Metropolitan Museum of Art, New York; Victoria and Albert Museum, London; Los Angeles County Museum of Art, Los Angeles and The National Museum of Modern Art, Tokyo. Since 1996, he has been represented by Yufuku Gallery, Tokyo, Japan.

    The Liverpool Street Gallery concomitently hosts the solo exhibition of artist Kevin Lincoln.

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  • In Harmony: The Norma Jean Calderwood Collection of Islamic Art / Harvard Art Museums, Cambridge

    In Harmony: The Norma Jean Calderwood Collection of Islamic Art at Harvard Art Museums, Cambridge - Bowl with inscription and birds, Samanid period, 10th century

    In Harmony: The Norma Jean Calderwood Collection of Islamic Art / Harvard Art Museums, Arthur M. Sackler Museum, Cambridge
    January 31 - June 1, 2013

    Harvard Art Museums present exhibition of Norma Jean Calderwood’s collection of Islamic Art
    Includes Persian ceramics, illustrated manuscripts, drawings, and lacquerware

    The Harvard Art Museums present In Harmony: The Norma Jean Calderwood Collection of Islamic Art, a special exhibition that showcases some 150 objects from the Persian cultural sphere, including luxury glazed ceramics of the early and medieval Islamic era, illustrated manuscripts of medieval epic poems, and lacquerware of the early modern era. The works in this little-known and largely unpublished collection represent 30 years of committed collecting by Mrs. Calderwood. In Harmony is on display January 31–June 1, 2013 at the Harvard Art Museums/Arthur M. Sackler Museum, 485 Broadway, Cambridge, MA.

    The exhibition is curated by Mary McWilliams, Norma Jean Calderwood Curator of Islamic and Later Indian Art, Division of Asian and Mediterranean Art, Harvard Art Museums. An accompanying catalogue, edited by McWilliams, offers illustrated entries and nine essays written by distinguished scholars and conservation scientists from a broad range of specialties.

    “In the decade since the Harvard Art Museums received the Norma Jean Calderwood Collection of Islamic Art, our gratitude has only increased for this magnificent gift,” said McWilliams. “Our research on the collection has inspired an even greater admiration and respect for Norma Jean’s knowledge and achievement. With this exhibition and catalogue, we hope to share with a broader audience the understanding we have gained of this beautiful and thoughtfully formed collection.”

    “There has been exponential growth in the study of Islamic art in recent decades,” said Thomas W. Lentz, Elizabeth and John Moors Cabot Director of the Harvard Art Museums, “and Harvard University and the Harvard Art Museums have been at the forefront of this movement, with faculty, curators, students, and celebrated collections providing fertile ground for the field. The Calderwood Collection is a lasting contribution from a collector who understood the heart of our educational mission.”

    The Calderwoods
    Norma Jean Calderwood devoted much of her life to studying and teaching Islamic art and the complex of cultures in which it arose. She pursued graduate study in Islamic art at Harvard University, where she specialized in Persian manuscripts, and taught for many years at the Museum of Fine Arts, Boston, and at Boston College. A gifted lecturer, she was also an intrepid traveler, crossing North Africa, the Middle East, and Central Asia to study the art and architecture of Islamic lands. For three decades beginning in 1968, she systematically acquired examples of the artistic tradition that captivated her.

    Stanford and Norma Jean Calderwood were energetic and generous philanthropists in their adopted city of Boston. Institutions that have benefited directly from the Calderwoods’ generosity include the Boston Athenaeum, Boston College, the Cambridge Art Association, the Harvard Art Museums, the Huntington Theatre, the Isabella Stewart Gardner Museum, the MacDowell Colony (Peterborough, NH), the Museum of Fine Arts, Boston, and public broadcaster WGBH. Their private art collection was the most tangible and personal expression of the Calderwoods’ lifelong involvement in the arts, but also the one least known to the public.

    Bowl inscribed with sayings of the Prophet Muhammad and Ali ibn Abi Talib, Uzbekistan - In Harmony: The Norma Jean Calderwood Collection of Islamic Art

    The Calderwood Collection
    The Calderwood Collection covers more than a thousand years of artistic achievement in the Persianate world during the Islamic era, principally through the media of ceramics, works on paper, and lacquer. The majority of objects were produced between the 9th and 19th centuries in Iran, Iraq, and parts of Central Asia. Initially attracted to luxury ceramics, Norma Jean Calderwood amassed 57 examples within a decade before shifting her attention to works on paper—illuminated and illustrated manuscript folios as well as single-page compositions. A handful of lacquer objects rounds out the collection. The collection was gifted to the Harvard Art Museums in 2002, and a subsequent exhibition of 46 objects, titled Closely Focused, Intensely Felt: Selections from the Norma Jean Calderwood Collection of Islamic Art, was held August 7, 2004–January 2, 2005 at the Sackler Museum. That exhibition marked the first public showing of a major portion of the collection.

    In Harmony
    To convey to her students the effect of a Persian painting, Norma Jean Calderwood said that its many visual elements “united to form a harmony.” The theme is eloquently expressed in some of the finest works in the Calderwood Collection, as well as in the total assembly, with objects resonating through contrasts and connections. This exhibition celebrates the scope of Calderwood’s achievement and the harmony of purposes that led to the gifting of the collection to the Harvard Art Museums.

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