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modern ceramics

Modern and Contemporary Ceramics: Anita Kay Hardy and Gregory Kaslo Collection / Boise Art Museum, Idaho

Modern and Contemporary Ceramics exhibition at Boise Art Museum

Modern and Contemporary Ceramics: Anita Kay Hardy and Gregory Kaslo Collection / Boise Art Museum, Idaho
February 22 - October 5, 2014

In celebration of Kay Hardy and Gregory Kaslo’s impressive collection and significant contributions, Boise Art Museum proudly presents a full-scale exhibition highlighting their collection and gifts. Among the notable ceramic artists included are Rudy Autio, Frank Boyden, Helen Frankenthaler, Jun Kaneko, David Smith and Peter Voulkos as well as two-dimensional works by Bill Lewis, Judy Cooke, Alden Mason and Hung Liu.

“There is no central pathway to view the exhibition Modern and Contemporary Ceramics: Anita Kay Hardy and Gregory Kaslo Collection, other than a love of the ceramic medium. They acquire based upon that recognition between eye and mind that have encountered a masterwork. The ceramics range from traditional to edgy, from known masters to the lesser known. It is deliciously eclectic.” - Garth Clark and Mark Del Vecchio, Award-winning authors, critics and curators.

Over several decades Kay Hardy and Gregory Kaslo have assembled an exceptional art collection, reflecting their interest in modern and contemporary art with a focus on ceramics. As part of their ongoing relationship with Boise Art Museum, they have loaned numerous artworks to various exhibitions and gifted BAM more than 40 important ceramics and other paintings that deepen and enrich the Museum’s collections.

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  • Rose Cabat at 100: A Retrospective Exhibition of Ceramics / Tucson Museum of Art, Arizona

    Rose Cabat at 100 Retrospective Exhibition of Ceramics at Tucson Museum of Art

    Rose Cabat at 100: A Retrospective Exhibition of Ceramics / Tucson Museum of Art, Arizona
    February 1 - September 14, 2014

    Rose Cabat is considered an artistic treasure in Arizona and an important American studio ceramicist of the Mid-century Modern movement. Born Rose Katz in the Bronx, New York, in 1914, she first worked with clay as a child at the Henry Street Settlement House. In 1936, she married childhood friend Erni Cabat, who became her artistic mentor and biggest supporter. In the late 1930s, Erni studied under Vally Wieselthier, a well-known Wiener Werkstatte potter and ceramic sculptor who had immigrated to the United States from Austria. In 1938, when Erni brought home a lump of clay to use for one of his own projects, Rose fashioned it into several coiled figures and other objects. Noticing Rose’s talent, Erni bought her a membership at Greenwich House Pottery in Greenwich Village. There she taught herself to create wheel-thrown pots in earthenware and to develop her own glazes. The Cabats moved to Tucson, Arizona, in 1942, when their first child developed asthma. The family grew, and Rose worked as a riveter at Davis-Monthan Air Force Base. In Arizona, Rose first worked with clay from the local brickyard, and threw pots on a wheel made from a converted washing machine. Eventually, Rose worked with stoneware and porcelain clays on a professional Randall wheel, which she still uses to create her celebrated forms. In the mid-1950s, Rose exhibited her work nationally, including at the Tucson Art Center, later to become the Tucson Museum of Art.

    Cabat’s artistic breakthrough came in 1956 when she accompanied Erni while he attended a conference in Hawaii. Rose stayed on to take a course in glaze calculation at the University of Hawaii, and returned home with new insights into the nuances of the craft. Together, Rose and Erni developed a glaze they named “feelie glaze” for its silky smoothness. In the early 1960s, Rose elevated her signature vases from utilitarian craft objects to museum-quality works of art; iconic rounded forms with delicate, narrow necks and jewel-colored glazes. In 1966, Rose participated in the Craftsmen USA exhibition at the Los Angeles County Museum of Art, which established her reputation as an important Mid-century Modern ceramicist. Rose Cabat will turn 100 this summer. This exhibition is a celebration of Cabat’s illustrious life and intrepid artistic achievements.

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  • Ryan Blackwell: Mother’s Bad Dreams, detail, 2011


  • Ryan Blackwell: Untitled (White Shelf), 2012, Shelf, Clay, Oil, Acrylic, Resin, Wood Glue, Hardware, 43.25 x 10.25 x 2 in.

  • In relief: German Op-Art Ceramics, 1955-75 / University of Arizona Museum of Art, Tucson

    German Relief Porzellan Exhibition, University of Arizona Museum of Art, Tucson

    In relief: German Op-Art Ceramics, 1955-75 / University of Arizona Museum of Art, Tucson
    September 28, 2012 – January 27, 2013

    Opening Reception: October 4, 5-7 pm.

    A first-ever exhibition of a mid-century movement of German ceramics, known as relief-porzellan, debuts at the University of Arizona Museum of Art. Entitled: In Relief: German Op-Art Ceramics, 1955-75” the exhibition opens on September 28 and runs through January 27, 2013. Both the exhibition and reception are open to the public.

    Lawrence Gipe, UA Associate Professor of Studio Art, has been collecting mid-century German ceramics known as relief-porzellan for a number of years. Little was known about these beautiful objects until Gipe undertook to discover the history of their production. This exhibition presents his fascinating research, bringing to light the stories behind the factories and individual artists who created the objects.

    "Several years ago, I became aware of this unique genre of German ceramics," says Gipe. "These mass-produced objects were made in "biscuit" porcelain – a matte-white or black finish that leaves the shape unglazed and naked, unadorned in its starkness."

    Between the years of 1955-1980, more than a dozen companies were producing the Relief-Porzellan ceramics, mostly vases. Artisans, working in small Bavarian towns, created hundreds of designs, both geometric and organic. Some of the ceramic objects were stamped on the bottoms with the name of the designer and the trademark of the company that produced them. Gipe’s visit to an archive in Selb, Germany, the venerable Rosenthal and Co., offered a trove of journals and files, revealing artists and providing attributions to previously anonymous pieces.

    Research for the UAMA exhibition, In Relief: German Op-Art Ceramics, was made possible by a grant from the International Affairs Department at the University of Arizona. The University of Arizona Museum of Art includes more than 6,000 artworks in its permanent collection created by artists from the 14th through the 21st centuries. UAMA is one of only twelve museums in Arizona accredited by the American Association of Museums (AAM) and one of only 750 museums of the 16,000 museums nationwide with this highest award for excellence in the museum field.

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  • Ellen Schön: Five Hills Font, 2011, Smoke-fired clay, 15” x 22” x 22”

  • Francesco Ardini: Organic Mutation, 2012, Ceramic, Light grey and Eletric blue matt glaze mixed with sand (990°C), Vase H65 cm.


  • Francesco Ardini: Envelope - Turquoise (left), Pink Flesh (right), 2012, Stoneware (1100°C), Glazes (990°C), approx 44-55 cm.

  • David Gallagher: Specific Ubiquity (Green Space), 2010, Portland Cement, Lab Glass, Miracle Grow, Unfired Iron Rich Clay, Grass

  • Elizabeth Shriver: Seed Pod, 2007, Ceramic, 13 x 17 x 17 in.

  • Ruth Duckworth exhibition / Erskine Hall & Coe, London

    Ruth Duckworth exhibition Erskine Hall & Coe Gallery, London

    Ruth Duckworth exhibition / Erskine Hall & Coe, London
    September 5 - October 4, 2012

    Erskine, Hall & Coe are pleased to announce the exhibition of the celebrated contemporary sculptor, Ruth Duckworth.

    The exhibition includes 22 artworks in bronze, porcelain and stoneware. The earliest dates from 1965 but the majority of pieces are from the period of late 1980s through to work completed in the final year of Duckworth’s life. The gallery has been working closely with Thea Burger, who represents the Duckworth Estate.

    Writing in her essay to accompany the exhibition Thea Burger states:
    “Duckworth was a modernist sculptor who loved form. She was not about colour, but was about the subtle shape of her pieces. Her forms are typically created in porcelain, stoneware, or bronze. Much admired, she has art works in most of the world’s most prestigious museums, including the Metropolitan Museum in New York, the Los Angeles Country Museum, the Victoria and Albert, the Stedelijk Museum, and the Tokyo Museum of Art.”

    In Ruth Duckworth, Modernist Sculptor written by Jo Lauria and Tony Birks, Duckworth talks of her process of creating a sculpture: Ruth Duckworth Porcelain.

    “Play is the essence of creativity. Creative play and gut reaction, instinct. When I work on a piece, I play. I have a whole huge section of the studio where I have an inventory of sculptural forms, simple, abstract, non-specific shapes that I find beautiful and enjoy making. Then I start building these shapes together. And when I find myself smiling, I say “hello!” I think I’ve got something. The process is intuitive, not intellectual. You have to learn to be spontaneous and trust yourself.”

    Download the catalogue of the exhibition or view the catalogue online.

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  • Langenthal retrospective / Musée Ariana, Geneva, Switzerland

    The Langenthal porcelain manufactory. From industrial design to Sunday china, Musee Ariana, Geneva

    Langenthal retrospective / Musée Ariana, Geneva, Switzerland
    May 23 - November 25, 2012

    Opening reception: Wednesday, May 22 at 6.30 pm.

    #1
    The Langenthal porcelain manufactory. From industrial design to Sunday china

    The fascinating history of the only 20th century Swiss porcelain factory began in 1906 in the Bernese town of Langenthal. Deeply rooted in the Swiss identity, the porcelain manufactory Langenthal SA – affectionately known by its workers as the “Porzi” – became noted for its cutting-edge technology, the diversity of its products as well as the quality of its porcelain. The artistic output followed the dominant aesthetic currents of the century while still preserving its local character. From Art Nouveau and Art Deco to the deliciously “vintage” designs of the 1950s and 1960s, from pseudo-rustic to avant-garde propositions, from collaborations with artists and designers to the influence of the artistic directors of the manufactory, the history of Langenthal is closely linked to the evolution of taste.

    This collaboration with the Langenthal manufactory has been an opportunity to update the rich archives : hand-painted design books, catalogues of forms and motifs, publicity leaflets and brochures, archive photos. Loans from public and private institutions enrich and complete the important collection of the Musée Ariana (over 1000 pieces). All the conditions have been met to allow a portrait to be drawn of 20th century industrial porcelain in Switzerland.

    The History of A Courageous Project
    When some notables of the Bernese town of Langenthal decided to found a porcelain manufactory in July 1906, they were armed with a good dose of courage and staunch enthusiasm. Indeed, after a century without any porcelain manufacture in Switzerland, there were no raw materials and, more particularly, no specialized local workforce available. They had to start completely from scratch in order to rewrite Switzerland into the porcelain history books.

    After a chaotic start, production became more organized and the manufactory began displaying its goods in specialized exhibitions and fairs with encouraging success. The outbreak of the First World War curbed this momentum. In 1937, in order to reduce its dependence on imported coal, the manufactory constructed the first 24-hour electric tunnel kiln. This technological breakthrough allowed the company to increase and diversify its production.
    After the Second World War, the manufactory enjoyed a heyday. The remarkable quality of the Swiss-made products enabled it to fight off the competitors. In 1964, the firm recorded the highest number of employees in its history, with 950 workers.

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