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.

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Craft Spoken Here / Philadelphia Museum of Art

Craft Spoken Here exhibition at Philadelphia Museum of Art, Philadelphia, USA

Craft Spoken Here / Philadelphia Museum of Art, Philadelphia, USA
May 5 - August 12, 2012

Crafts were prominent among the first works of art to enter the collections of the Philadelphia Museum of Art when it was founded in 1876, and the Museum has continued to collect and exhibit crafts. Today, thanks in large part to the Women’s Committee and gifts from individuals, the Museum is particularly well-known for its holdings of twentieth-and twenty-first-century American, European, and Asian craft.

With Craft Spoken Here, the Museum seizes the opportunity to experiment with its collection and to understand craft in an international context. Some forty contemporary works from 1960 to the present in ceramic, glass, metal, wood, lacquer, paper, and fiber—some by living, acclaimed artists and others by lesser-known creators—are on view. Representing the Americas, Africa, Asia, and Europe, the works highlight formal qualities that cross cultures, time, and media.

Craft Spoken Here features an array of engaging education programs and interpretive materials, including on-site artist demonstrations and hands-on craftmaking activities for the public.

The exhibition is divided into three sections. Essential Element looks at continuing importance of line—the graphic gesture—as an expressive and compositional element in the work of artists. Rebecca Medel’s The One (1985) uses a network of lines to form a dense cube of knotted cotton and linen threads, dark on its fringes and progressively lighter towards the center, which creates the illusion of a luminous sphere floating in an atmospheric haze. The second section, Shape Shifting, includes works in clay, glass, wood, metal, paper, and fiber materials that have been fashioned into sculptural forms. Motoko Maio’s Kotodama (2008) is a folding screen in silk and linen that can be adjusted to divide a room, provide privacy, or rest decoratively in a corner. The final section is Gesture, which includes works that offer visual and emotional cues, such as the chaotic, seemingly uncontrollable framework of Jessica Jane Julius’s Static (c. 2008), in which hundreds of black glass flameworked threads combine in a sculptural evocation of the artist’s reoccurring dream.

Curator
Elisabeth Agro, The Nancy M. McNeil Associate Curator of American Modern and Contemporary Crafts and Decorative Arts

The exhibition is made possible by The Leonard and Norma Klorfine Foundation Fund for Modern and Contemporary Craft. Additional support is provided by the Windgate Charitable Foundation and the Center for American Art at the Philadelphia Museum of Art. In-kind support is provided courtesy of Lion Brand Yarn.

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Liliana Folta: Oíd el Ruido de Rotas Cadenas (Hear the Sounds of Broken Chains), 2010, Installation for the 1st Biennial of the Americas, unglazed ceramic chains, cotton canvas chains, wood, mirror, iron, high temp wire, 13ft. x 56in Diam.

Liliana Folta: Oíd el Ruido de Rotas Cadenas (Hear the Sounds of Broken Chains), 2010, Installation for the 1st Biennial of the Americas, unglazed ceramic chains, cotton canvas chains, wood, mirror, iron, high temp wire, 13ft. x 56in Diam.

Kwok-Pong ‘Bobby’ Tso: The View From Above Series No.2, Industrial landscape, 2012, White earthenware, cone 04 oxidation, sanded surface, plastic, metal, and wood, H 8, W 24, D 16

Kwok-Pong ‘Bobby’ Tso: The View From Above Series No.2, Industrial landscape, 2012, White earthenware, cone 04 oxidation, sanded surface, plastic, metal, and wood, H 8, W 24, D 16

Kwok-Pong ‘Bobby’ Tso: Delta, Industrial landscape Series, 2010, Earthenware, underglazes, wood, hobby paper, plastic, metal, latex paint, enamel, H 12 1/4, W 15, D 13 ½

Kwok-Pong ‘Bobby’ Tso: Delta, Industrial landscape Series, 2010, Earthenware, underglazes, wood, hobby paper, plastic, metal, latex paint, enamel, H 12 1/4, W 15, D 13 ½

Kwok-Pong ‘Bobby’ Tso: We Alter, We Change and We call it our own, Industrial landscape Series, 2011, White earthenware, cone 4 oxidation, sanded surface, additional detail created by wood, hobby paper and sand, Metal hanging system, H 8, W 18, D 15

Kwok-Pong ‘Bobby’ Tso: We Alter, We Change and We call it our own, Industrial landscape Series, 2011, White earthenware, cone 4 oxidation, sanded surface, additional detail created by wood, hobby paper and sand, Metal hanging system, H 8, W 18, D 15

Kathy Pallie: Stand of Birches. Earthenware, acrylic cold finish, wood base, rocks, 88”H x 54”L x 15”D, 2007

Kathy Pallie: Stand of Birches. Earthenware, acrylic cold finish, wood base, rocks, 88”H x 54”L x 15”D, 2007

Susan Meyer: unité d’habitation, 2009, laser cut acrylic, H-O scale figures, aluminum, wood, video and sound, dimensions variable

Susan Meyer: unité d’habitation, 2009, laser cut acrylic, H-O scale figures, aluminum, wood, video and sound, dimensions variable