modern ceramics
Langenthal retrospective / Musée Ariana, Geneva, Switzerland
Langenthal retrospective / Musée Ariana, Geneva, Switzerland
May 23 - November 25, 2012
Opening reception: Wednesday, May 22 at 6.30 pm.
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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.
Anat Shiftan: Stilled Life / Vessels Gallery, Boston, USA
Anat Shiftan: Stilled Life / Vessels Gallery, Boston, USA
May 4 – May 27, 2012
Vessels Gallery is pleased to present Stilled Life, a solo exhibition of the new ceramic work of Anat Shiftan. Born in Israel, and with a degree from Hebrew University in English Literature and Philosophy, Shiftan received her MFA in Ceramics from the Cranbrook Academy of Art and Design. In 2003, the artist joined the faculty at the State University of New York at New Paltz, School of Fine and Performing Arts, where she finds teaching essential to her creative process. She has participated in group exhibitions both nationally and internationally and was featured in the 3rd, 4th and 5th Biennale for Israeli Ceramicsas well as in the 4th Annual Jingdezhen Contemporary International Ceramics Exhibition, in Jingdezhen, China.
Shiftan is philosophically absorbed by nature and itsre-creation in art. She writes, “Looking at nature is a springboard for my artistic expression…” She is drawn in by the beauty of nature, the fluctuation between its symmetry and imbalance, its order and disarray. More importantly, however, she has become fascinated by the “packaging” of this nature as an art object throughout history. Shiftan is captivated by the human engagement with nature,by man’s desire to artistically capture what has been seen, andfinally by the process of doing it. This conversion from outside to inside, is just as much part of the subject matter as the clay itself.The artist works primarily in porcelain, and her pieces are markedly delicate and alluring, sometimes with sharp edges and coarse surfaces which may invite the viewer to look but not to touch.
Stilled Life continues Shiftan’s exploration of this dual role: nature in its own setting and nature domesticated. In her own words: “I contemplate the role of nature in artistic history, and I wonder if it is at all accessible to us today as a reality.”
Patricia Sannit: Citadel - close up, 2011, found and reclaimed clays, slip and stain
Patricia Sannit: Aquaduct, 2010, 9”x22”x4”, cast found and reclaimed clays, slip and stain
Patricia Sannit: Bottle: Infinity, 2009 , 22”x7”x4”, hand-built, carved and incised stoneware, slip and stain
Patricia Sannit: Hemisphere 1198, 2008, 8”x12”x12”, cast, carved and incised found and reclaimed clays, slip and stain
Bente Skjøttgaard: Clouds, White turquoise cloud no 1003, 2010, Stoneware and glaze, hand built, 23 x 53 x 34 cm. Photo: Ole Akhøj
Bente Skjøttgaard: Clouds field no 1037, detail, 2010, Stoneware and glaze, hand built. Photo: Ole Akhøj
Steve Belz: Assisted Nucleation (detail), 2011, Low fire ceramic, washes, glaze, rubber cord and steel fastener, 20H x 30W x 10D inches
Steve Belz: Pulse (detail), 2011, Ceramic, glaze, bronze and powder coating, 9H x 14W x 10D inches
Steve Belz: Hold It, 2009, Low fire ceramic, washes, glazes, copper wires and steel fasteners, 9H x 13W x 10D inches
Steve Belz: Bound (detail), 2010, Low fire ceramic, glazes, slip, rubber cord and copper wires, 10H x 19W x 9D inches
Jason Hess: New Work / Plinth Gallery, Denver, CO, USA
Jason Hess: New Work / Plinth Gallery, Denver, CO, USA
April 6 - 28, 2012
Opening reception: Friday, April 6th, 6-9 pm.
Jason Hess is a professional ceramic artist and professor who lives in Arizona and instructs at Northern Arizona University. As an “avid wood firer”, his research for over 15 years has focused on the alchemy of the process — how the clay color, wood type, kiln design, and ash dispersion at high temperatures work together to “render a surface that is unattainable in other ways.”
A desire to have objects that fulfill specific purposes inspires him to make functional pots. The infinite and elusive variety of texture and color attainable through the various making and firing processes has generated an interest in the notion of presentation. Some of his work is presented so that a viewer might notice and appreciate subtle diversities in form and surface. By grouping similar forms of differing size and color the compositions create a visually dynamic display, which invites the viewer to enjoy the tactile nature of each individual piece and how they relate to one another.
His ceramic art has been featured in over 125 exhibitions worldwide. Jason has participated in residencies at the Archie Bray Foundation, in Montana, and at The Pottery Workshop in Jingdezhen, China. He has also received numerous research grants from Northern Arizona University to research his medium and for the construction of the kilns. Jason’s work is either utilitarian or refers to utility in form while the presentation is more like characters relating to one another. He holds an MFA degree from Utah State University.
Gallery Hours: Thursday - Saturday, 12-5 pm, and by appointment.
Ruth Power: Bound breast (Cephalophilia), 2011, 43cm wide x 37cm long x 14cm deep; porcelain, LED light, cord, plug, wooden box with black paint and flocked interior.
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