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

sculpture

David Gilbaugh: The Imaginist, 2009, sculpture, 21”(W) x 33”(H) x 23”(D), hand-built coil, B-mix stoneware, cone 8, black stain brushed in crevices, water washed iron and rutile stain throughout, interior - red engobe.

  • David Gilbaugh: Family Tree, 2007, sculpture, 6.5”(W) x 11.5”(H), hand-built coil, B-mix stoneware with grog, cone 10 reduction, iron, rutile, chrome and cobalt oxide stains

  • David Gilbaugh: Racemosa, 2011, sculpted teapot, 4”(W) x 11”(H) x 8”(D), hand-built slab, B-mix stoneware paper clay with grog, cone 10 reduction, black stain brushed in crevices, water washed iron and rutile stain
    Permanent collection of the American Museum of Ceramic Arts

  • Suzanne Stumpf: Interactive Sculpture No. 9, detail

  • Suzanne Stumpf: Interactive Sculpture No. 9, 2008, 16”h x 8”w x 8”d, wheelthrown porcelain with handbuilt components; black slip and shellac resist; oxidation fired to cone 10

    Although Interactive Sculpture No. 9 appears at first glance to be some sort of game, there are no rules here. It is intended for the playful pleasure of the viewer to arrange the sticks with their different colored tips entirely to their own whim. (When all the sticks are removed the work is a trompe l’oeil with the raised black dots hiding its holes.)

  • Wild Life - Winter Group Show, StolenSpace Gallery, London

    Wild Life - Winter Group Show, StolenSpace Gallery, London

    02.12.11 - 18.12.11

    Artists interpretation of the living world in Sculpture, Painting & Installation.

    The wild life of wildlife.
    A flower growing through the crack in the pavement, the ivy scaling the fascia of a building, camouflaging, cloaking, pulling it to the ground, the tree growing around a concrete pillar, engulfing it slowly, morphing year on year. The birds nest in the rafters of a roof, made up of twigs and plastic ties, the nested young being fed the preservative pumped, calorie powered garbage bin rewards. These are glimpses of wildlife interacting, adjusting, adapting to the environment  that we’ve created, over, around, on top of it, the once green meadow now a sea of steel work, glass and poured concrete, trees confined to their architect planned and perfectly aligned boxes.
    But our wild life, this wildlife is playing a slow game, a slow deathly dance between the static, lifeless concrete structures we’ve built and the unstoppable force of nature. Adapt or be adapted, adjust or be adjusted, remember me? I was here before you, I’ve always been here, you need me, I am life.
    Is mother nature reclaiming our temporary oasis or is it adapting to the obstacles that we’ve put in its way or are we now having to listen to the reminder that this place is not ours, we are simply borrowing it?

    Confirmed Artists:
    Josie Morway (Painter)
    Rose Sanderson (Painter)
    Jennifer Murphy (Collage)
    Kelly Allen - (Painter)
    D*Face (Mixed media)
    Dan Witz (Mixed media)
    Jake Wood Evans (Painter)
    Roxanne Jackson (Sculptor)
    Kelly McCallum (Sculptor)
    Jessica Joslin (Sculptor)
    Kai & Sunny (Mixed media)
    Katja Holtz (Painter)
    Renhui Zhao (Mixed Media)

    In wilderness I sense the miracle of life, and behind it our scientific accomplishments fade to trivia.
    How long can men thrive between walls of brick, walking on asphalt pavements, breathing the fumes of coal and of oil, growing, working, dying, with hardly a thought of wind, and sky, and fields of grain, seeing only machine-made beauty, the mineral-like quality of life.
    If I had to choose, I would rather have birds than airplanes.
    - Charles Lindbergh

    StolenSpace Gallery
    The Old Truman Brewery
    91 Brick Lane
    London E1 6QL
    +44 (0) 207 247 2684
    info@stolenspace.com

  • Brian Kakas: Tectonic Perceptions – Wing Series, 2011
    White stoneware, slab built, 29” H x 24”W x 24”L, Anagama Fired

  • Brian Kakas: Dimensional Transitions Series #3, 2008
    White Stoneware, slab built, 38” H x 29”W x 33”L, Cone 7 Reduction

  • Matt Johnson, Star in a Jar, 2011, Glass, electronics, 6 1/2 x 3 1/2 x 3 1/2 inches, Pedestal: 40 1/2 x 21 x 21 inches (via)

    Exhibition at Blum & Poe, September 10 - October 22, 2011

  • Barry Flanagan was one of the most radical sculptors of his generation. Though best known for his statues of bronze hares, his earlier work, in materials as varied as cloth, plaster, and sand, show how he challenged the very idea of what sculpture could be. Fellow artist Peter Randall-Page shares his memories of his close friend. Download this video.

    Barry Flanagan: Early Works 1965-1982, Tate Britain

    Barry Flanagan: Early Works 1965-1982, Tate Britain
    27 September 2011 - 2 January 2012

    Barry Flanagan was one of Britain’s most original and inventive artists and a key figure in the development of British and international sculpture. He is best known for the large-scale bronze hare sculptures that he began producing in the early 1980s and that can be seen in many galleries and public spaces around the world. The success of these pieces has tended to obscure the equally important and very different work that characterised his early period. Made from materials as varied as cloth, plaster, sand, hessian and rope, these works highlight a concern with material properties and processes - a concern that is at the heart of his practice.

    A contemporary of Gilbert & George, Flanagan studied sculpture at St Martin’s School of Art from 1964 to 1966. The exhibition takes this period as a starting point and reveals the impact of this early work on his later development towards casting in bronze, which he began in 1979. This is the first major retrospective of Flanagan’s work in London since 1983, and by focusing on his early works, shows how this radical and imaginative artist challenged the very nature of sculpture in his time.

  • Susan Meyer: Shaft, detail, 2010, laser cut acrylic, H-O scale figures and aluminum, 50” x 14” x 14”

  • Modern Art Oxford presents Teacher of Dance, the first major UK exhibition of the Seoul- and Berlin-based artist Haegue Yang. Yang has developed a distinctive practice of colourful and sensorial installations and sculptures that seek to occupy the spaces where public and private meet and contend with one another. Through her work, Yang discloses narratives, individual portraits and her own sentiments, reflecting the balance of research and intuitive enquiry that underlies her practice. She predominantly uses materials drawn from the domestic realm, yet employs an abstract language to free the work from any narratives that influenced her production process. (via)

    Haegue Yang at Modern Art Oxford

    (Source: artnotartnot)

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