There has been a great deal of attention focused on the techniques of criticizing ceramics, and especially, how to perform a self-critique. Leading ceramic venues have published information on various philosophies of assessment, but I have observed a great deal of frustration by potters. There appears to be too much emphasis on theory rather than actual practice.
Over a 35-year career in clay, I have taught in every level of ceramic education, from public, private, college and continuing education. When I retired from teaching to pursue my own work full time, I also moved to a new location. I present workshops at colleges, conferences and art centers as well as offer private sessions in my studio on all facets of clay making. I always include a formal critique with each one of these sessions. There are many opportunities for ceramic classes in my regional area, but what I have learned from participants in my workshops is that many teachers are uncomfortable to include critiques in their classes and consequently, avoid them. This is unfortunate; how else is one to develop their craft and assess their growth without periodic critiques? In my last teaching position, I taught ceramics and sculpture in a public high school in New York State. When New York developed their “Standards in Education”, criticism was a major component of the assessment for the arts. As our students were decidedly college bound, our art department took this charge very seriously. I held formal critiques with my beginning, advanced and Independent Studies students in both my Ceramics and Sculpture classes. I had to establish my own criteria of evaluation that would not only satisfy the traditional model of art criticism that integrated line, color, shape, form, texture, space, rhythm and balance, but would also personalize the art of ceramics. Critiques were performed in an open format so that all the students could benefit from one another.
When performing a self-critique, you must first observe the quality of craftsmanship; you must look at the relationship between all the parts of a pot and determine if the pot is successful. While investigating the aesthetics of a pot, you must determine the piece’s attributes and approach towards a sense of style, in essence, its inherent beauty. A good place to start is with the foot. You must understand that the size of the foot should relate to the dimension of the neck and rim; the thrust of the body that emanates from this foot determines the “weight” of the piece. Dan Rhodes was inspirational in his correlating the vessel to the human form, and I have used that insight in my discussions of ceramic vessel making. The shoulder and torso of the pot creates a unique form as exemplified in the comparison of traditional Greek and Native American pottery. The Greeks put the thrust at the shoulder where many Native American vessels employ an extreme expanse in the mid torso. Both forms traditionally taper to a small distinct foot. A moving line, a basic element of art, which you can focus on to determine an aesthetically pleasing piece, determines the profile of a vessel.
Therefore, what many ceramists want to know is what to look for in a critique, and how to follow a methodology that would include both the aesthetic and the technical in their assessment of a good piece of artwork.
For a beginning potter, I would discuss their work in relation to the classic ideals of ceramic form; observe the foot, body, shoulder, neck, rim and glaze of each piece. Observe classic forms such as the Chinese, Greek, Native American, and Japanese industrial (17th century) ware. When assessing the craftsmanship of a piece, determine not only the beauty and placement of add ons, such as handles, but also inspect how cleanly they are attached and pulled, and do they boast an angle that conveys the contour of the vessel? Continue down the form with each component of the vessel, addressing not just its proportions, but also the quality of craftsmanship of the lids, spouts or any other added embellishment. Are the throwing lines intentional, and do they move up the form in a consistent rhythm? Are the throwing lines distracting to the profile of the piece and do they compete with the texture of the glaze? What I find most important when assessing the glaze is glaze application. Usually diagonal or horizontal lines from multiple glazing gives a cylindrical form a sense of delicacy and grace, while vertical drips tend to weigh the piece down. Therefore determine weather or not the action of the glaze pour coincides with the shape of the form. Watch for overly thick glaze applications that tend to bubble, craze and pool away from the pot’s surface, creating gaps in application and a diminished textural element.
For a more experienced potter, I would embrace an approach to work that promotes risk, uniqueness and individuality. Explore breaking the rules you spent so much time perfecting, and establish a style that is creatively unique. Question and inspect how the thick, bubbly glazes of the irregularly shaped Japanese folk pottery, such as the Iga and Shino ware were so beautifully and boldly achieved? After much criticism, a potter can appreciate the sophistication of intention as well as the accidental in their work. I love the spontaneity of the unintentional; an artist needs to have a sense of control over their materials. Learn what is correct first and then if you desire, break the rules and listen to your own voice.
Learn the history of your craft; the more you embrace the background of this vast and rich art form you will compile a treasury from which to evaluate and compare. Acquire a strict system of self-criticism, using these formal methods of assessment, and as you mature in your work, so will your criteria of self-evaluation. Change, grow and take risks, because after all, that is the essence of art- but achieve this with knowledge and purpose.
Go to my website for ongoing pictorial lectures in ceramic history. www.jayneshatzpottery.com
Thursday, February 7, 2008
DEFENSE FOR THE CERAMIC PhD
There are several colleges in our country that offer undergraduate and graduate programs in Ceramics. There are also departments in many colleges that offer Ceramics, but not as a full major. Academic institutions define these courses of study, and they are based upon financial resources and the level of importance ceramics holds in their curricula. As you climb the academic ladder, there is less of an opportunity to receive a higher degree in the ceramic field, than there is in painting, or what is known as the Fine Arts. Obtaining a PhD in ceramics was a goal I had from the day I touched clay. I didn’t realize then how difficult it would be to locate a school to pursue that dream, and when I did, I was amazed at the negativity I encountered in fulfilling a PhD in Ceramics.
My quest began simply as an adolescent desire to be highly educated. As a child of second-generation immigrants, a major goal in my family was to become educated. My post WW II parents put three children through college, hoping we would aspire to their vision of the American Dream- to be prosperous, cultured and bear children. I grew up in such an environment. As the family developed, we brought forth lawyers, doctors and socially conscious professionals. In this climate of BS’s, MS’s, MA’s, DVM’s and Esquires, I sought the precious PhD. My concept of a fully evolved and cultured woman was the beneficiary of the highest degree in my field. To be an artist in my extraordinary family was as prestigious as being a doctor, and to obtain a PhD would be a great achievement.
A PhD is basically a doctorate of philosophy in your particular field. My BA was in Art History, but then I transgressed and received my MA in Pottery and Sculpture. My ultimate goal in higher learning was to combine the two worlds of creating art and philosophizing about its historical heritage. I also wanted what was known as a “terminal degree”, which in the 1980’s and 90’s was the MFA. But this degree seemed less than my dream. I researched colleges all over the country and could not find one that would grant me a PhD in Ceramics. As I researched this further, I discovered there were some colleges that were considering a new degree, called the DOA, the Doctor of Arts. Some people believed this to be Dead On Arrival and most schools were not ushering it into their programs. Besides, getting a DOA in Ceramics was still unheard of; the degree was governed towards painting students, with departments that supported painters.
There are those of us artists that need more than the hands on experience of art; we need to explore the intellectual, verbal and written facets of our profession. At one time it was important for a painter to just paint, but in today’s academic community it is expected that an art student be interdisciplinary. Many college art departments require their students to concentrate in several artistic endeavors as well as being able to write, speak and critique the art in which they are engaged.
Therefore, as we are leaning towards this collaboration of studies, I believe the PhD in Ceramics should become an acceptable degree for ceramic students.
I finally located a school in which I could work on this degree. The Union Institute in Cincinnati, Ohio offers a doctoral program of studies that is based upon the Independent Learner. Those of you who have seriously worked in independent programs know that this kind of academic pursuit is quite rigorous. It is aligned to the Adult Learner, one who is already established in a community and cannot freely move from home to attend college. These people have mortgages, families, jobs, etc. Therefore, the degree comes to the student, not vice versa. I had finally found my way!
The nature of a PhD is to be involved in new and unique work; oftentimes this is in research, but in my case, it involved both research and artistic creativity. The ceramic historian part of me desired to research an unfamiliar slice of ceramic history at the time, the ceramics of Prehistory, (the Paleolithic and Neolithic eras). I was thrilled to delve into archaeology and anthropology texts as well as get to know several great professionals in the field. My goal was to assemble information from archaeologists and anthropologists and communicate this to the ceramic community through articles and lecturing. (Refer to "Ice Age Ceramics", Ceramics Monthly, Feb. 1992, pp. 78-79).
The other facet of this degree was to create a body of artwork that would reflect my relationship with this period of art. I developed a series of Venus figurines echoing the Paleolithic era, yet were reinterpreted through my abstract style. I also produced vessels reminiscent of Neolithic pots, as I frenetically coiled vessels evoking my contemporary approach. Because PhD’s are interdisciplinary, I also studied storytelling and wrote a Fable about the period. This was an exhaustive yet thrilling period in my life.
As I blissfully worked on my degree, I was establishing my all important dissertation committee and Core Faculty Advisor. These people would scrutinize, discuss and analyze the totality of my work. My committee was quite prestigious; my faculty advisor was from Cornell University, my anthropology professor from the State University of New York at Albany, my ceramic professor from the School of American Crafts at Rochester Institute of Technology, and my editor a published writer. With my committee in place, I began working on my dream.
Ironically, I had difficultly in finding the Ceramic component to my committee. Everyone I spoke to was definitely opposed to being a part of this program. They believed it would diminish the traditional MFA, and wanted no part of it. The ceramic professor, Richard Hirsch worked with me because he believed in ME, even though he had some reservations about the degree. I am forever grateful to him; because of him I was able to complete my work in 1992.
I continually worked for three years and grew as an artist, an educator and a person. Pursuing this degree was one of the most important decisions in my life. I discovered a way to obtain a degree that was basically unattainable at that time.
There was an expression that encircled the program; “there is life after the PhD”. I sometimes felt that I would never be finished, but the day of my orals arrived. My Fable was written; my body of artwork completed, my dissertation in print and my dream was realized.
So, is there life after the PhD? Absolutely! Upon receiving my degree my teaching salary increased and I began writing for publication. I started presenting ceramic history lectures and studio workshops to colleges and art centers and continued creating new and innovative artwork. After retiring from my teaching position I have continued to pursue these efforts with even more energy and commitment, a work ethic I gleaned from working on my degree.
For students who are searching for places to work on their degrees, especially the advanced degrees of MA, MFA, DOA and PhD, I recommend they look into the many Independent Programs that are available throughout the country. These schools are fully accredited and have proven to be vibrant institutions of learning; they provide a necessary component to this quest for higher learning. We should never be limited to the structures of availability and acceptability; we should strive to execute our dreams and make our goals a reality.
My quest began simply as an adolescent desire to be highly educated. As a child of second-generation immigrants, a major goal in my family was to become educated. My post WW II parents put three children through college, hoping we would aspire to their vision of the American Dream- to be prosperous, cultured and bear children. I grew up in such an environment. As the family developed, we brought forth lawyers, doctors and socially conscious professionals. In this climate of BS’s, MS’s, MA’s, DVM’s and Esquires, I sought the precious PhD. My concept of a fully evolved and cultured woman was the beneficiary of the highest degree in my field. To be an artist in my extraordinary family was as prestigious as being a doctor, and to obtain a PhD would be a great achievement.
A PhD is basically a doctorate of philosophy in your particular field. My BA was in Art History, but then I transgressed and received my MA in Pottery and Sculpture. My ultimate goal in higher learning was to combine the two worlds of creating art and philosophizing about its historical heritage. I also wanted what was known as a “terminal degree”, which in the 1980’s and 90’s was the MFA. But this degree seemed less than my dream. I researched colleges all over the country and could not find one that would grant me a PhD in Ceramics. As I researched this further, I discovered there were some colleges that were considering a new degree, called the DOA, the Doctor of Arts. Some people believed this to be Dead On Arrival and most schools were not ushering it into their programs. Besides, getting a DOA in Ceramics was still unheard of; the degree was governed towards painting students, with departments that supported painters.
There are those of us artists that need more than the hands on experience of art; we need to explore the intellectual, verbal and written facets of our profession. At one time it was important for a painter to just paint, but in today’s academic community it is expected that an art student be interdisciplinary. Many college art departments require their students to concentrate in several artistic endeavors as well as being able to write, speak and critique the art in which they are engaged.
Therefore, as we are leaning towards this collaboration of studies, I believe the PhD in Ceramics should become an acceptable degree for ceramic students.
I finally located a school in which I could work on this degree. The Union Institute in Cincinnati, Ohio offers a doctoral program of studies that is based upon the Independent Learner. Those of you who have seriously worked in independent programs know that this kind of academic pursuit is quite rigorous. It is aligned to the Adult Learner, one who is already established in a community and cannot freely move from home to attend college. These people have mortgages, families, jobs, etc. Therefore, the degree comes to the student, not vice versa. I had finally found my way!
The nature of a PhD is to be involved in new and unique work; oftentimes this is in research, but in my case, it involved both research and artistic creativity. The ceramic historian part of me desired to research an unfamiliar slice of ceramic history at the time, the ceramics of Prehistory, (the Paleolithic and Neolithic eras). I was thrilled to delve into archaeology and anthropology texts as well as get to know several great professionals in the field. My goal was to assemble information from archaeologists and anthropologists and communicate this to the ceramic community through articles and lecturing. (Refer to "Ice Age Ceramics", Ceramics Monthly, Feb. 1992, pp. 78-79).
The other facet of this degree was to create a body of artwork that would reflect my relationship with this period of art. I developed a series of Venus figurines echoing the Paleolithic era, yet were reinterpreted through my abstract style. I also produced vessels reminiscent of Neolithic pots, as I frenetically coiled vessels evoking my contemporary approach. Because PhD’s are interdisciplinary, I also studied storytelling and wrote a Fable about the period. This was an exhaustive yet thrilling period in my life.
As I blissfully worked on my degree, I was establishing my all important dissertation committee and Core Faculty Advisor. These people would scrutinize, discuss and analyze the totality of my work. My committee was quite prestigious; my faculty advisor was from Cornell University, my anthropology professor from the State University of New York at Albany, my ceramic professor from the School of American Crafts at Rochester Institute of Technology, and my editor a published writer. With my committee in place, I began working on my dream.
Ironically, I had difficultly in finding the Ceramic component to my committee. Everyone I spoke to was definitely opposed to being a part of this program. They believed it would diminish the traditional MFA, and wanted no part of it. The ceramic professor, Richard Hirsch worked with me because he believed in ME, even though he had some reservations about the degree. I am forever grateful to him; because of him I was able to complete my work in 1992.
I continually worked for three years and grew as an artist, an educator and a person. Pursuing this degree was one of the most important decisions in my life. I discovered a way to obtain a degree that was basically unattainable at that time.
There was an expression that encircled the program; “there is life after the PhD”. I sometimes felt that I would never be finished, but the day of my orals arrived. My Fable was written; my body of artwork completed, my dissertation in print and my dream was realized.
So, is there life after the PhD? Absolutely! Upon receiving my degree my teaching salary increased and I began writing for publication. I started presenting ceramic history lectures and studio workshops to colleges and art centers and continued creating new and innovative artwork. After retiring from my teaching position I have continued to pursue these efforts with even more energy and commitment, a work ethic I gleaned from working on my degree.
For students who are searching for places to work on their degrees, especially the advanced degrees of MA, MFA, DOA and PhD, I recommend they look into the many Independent Programs that are available throughout the country. These schools are fully accredited and have proven to be vibrant institutions of learning; they provide a necessary component to this quest for higher learning. We should never be limited to the structures of availability and acceptability; we should strive to execute our dreams and make our goals a reality.
Saturday, December 15, 2007
ENVIRONMENTAL CERAMICS
ENVIRONMENTAL CERAMICS
By Jayne E. Shatz, PhD
www.jayneshatzpottery.com--FREE Ceramic History presentations and GALLERY of artwork.
Environmental ceramics is art that is produced in conjunction with the architecture of a building or a landscape. Environmental art’s main purpose is to embellish human spaces and enrich our surroundings. Ceramic works have decorated buildings for centuries; clay tiles have adorned exterior facades, interior walls, city streets and murals. We enjoy ceramics in our homes with our tables, floorings, sculptural wall art, fountains, walking stones, benches and fireplaces.
The artists of the Potters Guild of Annapolis will be featured in an exhibit entitled “Art in Living Spaces”, at the Kent Island Federation of Art in Stevensville, Maryland next September 2008. I hope that many of you can take a ride to this lovely town on the Chesapeake and view this very exciting show. For more information call 410-643-7424.
To better appreciate this exhibit and environmental ceramics, I will present some background on the subject in this article. For a more thorough discussion of the subject, go to my website, www.jayneshatzpottery.com and click on the "Moments in Ceramic History" lectures and read the Environmental Ceramics article with beautiful images. Navigate to my Gallery on the website and you can see some examples of wall sculptures and environmental ceramics that I have produced.
The development of a design is usually accomplished through the collaboration between architect and artist. Great historic buildings such as the “Dome of the Rock” in Jerusalem used clay tiles as a decorative element to the exterior of the building. This building was first constructed in 692, and then completed with its decorated façade of beautiful tiles in the 16th century.
Not only has clay been used in architecture, but also in a sculptural context, implemented to adorn internal environments, such as intimate church niches in the majestic Italian Cathedrals. The Renaissance family, the della Robbias, 1400's, produced sculptural wall plaques in the form of majolica tondos, which are circular reliefs in tin glazed earthenware. As Luca della Robbia switched from the expensive marble and bronze to clay, so have many of our own contemporary sculptors. Many luxurious interiors in 18th and 19th century Europe were ornately decorated with ceramic tiles. Sometimes entire rooms, including floors, walls and ceilings were totally produced in tile.
Clay sculpture has also been displayed in front of buildings, in the same manner as the marble sculptures of Greece, Rome and Renaissance Italy. One beautiful example is Juan Miro’s “Wall”, installed in front of the Paris UNESCO headquarters, 1958.
Due to the high costs of producing bronze sculpture, many modern day artists have re-discovered the techniques of large ceramic constructions for architectural and environmental purposes. However, ceramics for the environment can be much more than tile work. Clay can be hung, draped, and mounted on wood, metal, and plastic. Embedding other materials into the surface of the clay in a multimedia context provides enormous avenues of expression. Ceramic art for the wall can be displayed like a painting, making it portable and transferable. This art form can “float” off a wall or appear grounded as traditional tile work. Ceramics for the wall can be viewed as either sculptures or three-dimensional paintings, and endless possibilities can be fabricated.
I have been producing ceramic sculpture for the walls since the 1970’s, creating work that can be hung like a painting. Most recently I have been producing environmental work for the garden and home such as tables, fountains and birdbaths. A tiled table is a style of ceramic art that is presented in the environment as a utilitarian idiom. While functional in scope, tiled tables are mostly produced as an aesthetic form. Tables can be produced to conform to a specific size and shape of a room or setting in order to relate to an environmental plan or a specific architectural concept.
What ceramic artists need to understand is that environmental art such as wall pieces or tiled facades can be made in any size kiln because they are produced in segments. This allows a small studio potter to produce large-scale ceramic installations. The same basic techniques are used for a large-scale architectural construction as is for an intimate interior display.
Today, ceramic sculpture is viewed as an important art form. The spontaneity and aliveness of clay enables an artist to work in an excitingly liberating manner. Working with ceramics in the environment allows a ceramist to be a designer, technician and artist and is one of the most exciting ways to work in contemporary art.
By Jayne E. Shatz, PhD
www.jayneshatzpottery.com--FREE Ceramic History presentations and GALLERY of artwork.
Environmental ceramics is art that is produced in conjunction with the architecture of a building or a landscape. Environmental art’s main purpose is to embellish human spaces and enrich our surroundings. Ceramic works have decorated buildings for centuries; clay tiles have adorned exterior facades, interior walls, city streets and murals. We enjoy ceramics in our homes with our tables, floorings, sculptural wall art, fountains, walking stones, benches and fireplaces.
The artists of the Potters Guild of Annapolis will be featured in an exhibit entitled “Art in Living Spaces”, at the Kent Island Federation of Art in Stevensville, Maryland next September 2008. I hope that many of you can take a ride to this lovely town on the Chesapeake and view this very exciting show. For more information call 410-643-7424.
To better appreciate this exhibit and environmental ceramics, I will present some background on the subject in this article. For a more thorough discussion of the subject, go to my website, www.jayneshatzpottery.com and click on the "Moments in Ceramic History" lectures and read the Environmental Ceramics article with beautiful images. Navigate to my Gallery on the website and you can see some examples of wall sculptures and environmental ceramics that I have produced.
The development of a design is usually accomplished through the collaboration between architect and artist. Great historic buildings such as the “Dome of the Rock” in Jerusalem used clay tiles as a decorative element to the exterior of the building. This building was first constructed in 692, and then completed with its decorated façade of beautiful tiles in the 16th century.
Not only has clay been used in architecture, but also in a sculptural context, implemented to adorn internal environments, such as intimate church niches in the majestic Italian Cathedrals. The Renaissance family, the della Robbias, 1400's, produced sculptural wall plaques in the form of majolica tondos, which are circular reliefs in tin glazed earthenware. As Luca della Robbia switched from the expensive marble and bronze to clay, so have many of our own contemporary sculptors. Many luxurious interiors in 18th and 19th century Europe were ornately decorated with ceramic tiles. Sometimes entire rooms, including floors, walls and ceilings were totally produced in tile.
Clay sculpture has also been displayed in front of buildings, in the same manner as the marble sculptures of Greece, Rome and Renaissance Italy. One beautiful example is Juan Miro’s “Wall”, installed in front of the Paris UNESCO headquarters, 1958.
Due to the high costs of producing bronze sculpture, many modern day artists have re-discovered the techniques of large ceramic constructions for architectural and environmental purposes. However, ceramics for the environment can be much more than tile work. Clay can be hung, draped, and mounted on wood, metal, and plastic. Embedding other materials into the surface of the clay in a multimedia context provides enormous avenues of expression. Ceramic art for the wall can be displayed like a painting, making it portable and transferable. This art form can “float” off a wall or appear grounded as traditional tile work. Ceramics for the wall can be viewed as either sculptures or three-dimensional paintings, and endless possibilities can be fabricated.
I have been producing ceramic sculpture for the walls since the 1970’s, creating work that can be hung like a painting. Most recently I have been producing environmental work for the garden and home such as tables, fountains and birdbaths. A tiled table is a style of ceramic art that is presented in the environment as a utilitarian idiom. While functional in scope, tiled tables are mostly produced as an aesthetic form. Tables can be produced to conform to a specific size and shape of a room or setting in order to relate to an environmental plan or a specific architectural concept.
What ceramic artists need to understand is that environmental art such as wall pieces or tiled facades can be made in any size kiln because they are produced in segments. This allows a small studio potter to produce large-scale ceramic installations. The same basic techniques are used for a large-scale architectural construction as is for an intimate interior display.
Today, ceramic sculpture is viewed as an important art form. The spontaneity and aliveness of clay enables an artist to work in an excitingly liberating manner. Working with ceramics in the environment allows a ceramist to be a designer, technician and artist and is one of the most exciting ways to work in contemporary art.
Friday, December 14, 2007
ASIAN INFLUENCE IN AMERICAN CERAMICS
ASIAN INFLUENCE IN AMERICAN CERAMICS
By Jayne E. Shatz, PhD
www.jayneshatzpottery.com--FREE Ceramic History presentations and GALLERY of artwork.
To ponder the influence of Asian arts on American pottery since 1900, we need to consider our country’s artists, musicians and poets, as they are the revealers of culture. By the end of the 19th century, art was ensconced in representational ideals; realism prevailed and only those daring Impressionists defied the status quo. Upon entrance into the new century, we drowned in Art Nouveau, then rambled into the cleaner, sexier Art Deco with all its Modernist clutches. It was all too neat-too contrived. Picasso was escalating onward, then suddenly turned a corner. That turn tumbled Western art. Jazz became the voice of the American backstage, and artists were bending to its anisotropic sounds. Americans yearned for the avante garde. Ceramists of the 1930’s developed a thirst for bending the rules. They were ready for the disproportionate ideals of the Asian aesthetic- irregular, asymmetrical and unbalanced. When Hamada and Yanagi hit our shores, ceramists swam urgently toward them, like salmon propelled upstream. Volkos drank Japanese art, Jazz and Abstract Expressionism, becoming our Picasso. He coursed a path toward unbalanced forms, corrupt with irregularities and ripped open with the desire to embrace a new sense of beauty. Freedom to make art with no restrictions or rules echoed in the hearts of an America that was expanding its shores and its potential. It is no wonder that potters looked toward Asia as the masters and teachers in clay. Their ancient heritage dates back over twelve thousand years to the wondrous ceramics of the Japanese Jomon, where the first coiled pots emerged. Those Jomon pots were as impetuous as today’s most contemporary work.
The Asian influence was not an influence of style, but rather an emanation in philosophy. It was a credo in the speculative rather than the observational, and the freedom to design.
By Jayne E. Shatz, PhD
www.jayneshatzpottery.com--FREE Ceramic History presentations and GALLERY of artwork.
To ponder the influence of Asian arts on American pottery since 1900, we need to consider our country’s artists, musicians and poets, as they are the revealers of culture. By the end of the 19th century, art was ensconced in representational ideals; realism prevailed and only those daring Impressionists defied the status quo. Upon entrance into the new century, we drowned in Art Nouveau, then rambled into the cleaner, sexier Art Deco with all its Modernist clutches. It was all too neat-too contrived. Picasso was escalating onward, then suddenly turned a corner. That turn tumbled Western art. Jazz became the voice of the American backstage, and artists were bending to its anisotropic sounds. Americans yearned for the avante garde. Ceramists of the 1930’s developed a thirst for bending the rules. They were ready for the disproportionate ideals of the Asian aesthetic- irregular, asymmetrical and unbalanced. When Hamada and Yanagi hit our shores, ceramists swam urgently toward them, like salmon propelled upstream. Volkos drank Japanese art, Jazz and Abstract Expressionism, becoming our Picasso. He coursed a path toward unbalanced forms, corrupt with irregularities and ripped open with the desire to embrace a new sense of beauty. Freedom to make art with no restrictions or rules echoed in the hearts of an America that was expanding its shores and its potential. It is no wonder that potters looked toward Asia as the masters and teachers in clay. Their ancient heritage dates back over twelve thousand years to the wondrous ceramics of the Japanese Jomon, where the first coiled pots emerged. Those Jomon pots were as impetuous as today’s most contemporary work.
The Asian influence was not an influence of style, but rather an emanation in philosophy. It was a credo in the speculative rather than the observational, and the freedom to design.
WHEN IS A MUG ART?
WHEN IS A MUG ART?
By Jayne E. Shatz, PhD
www.jayneshatzpottery.com--FREE Ceramic History presentations and GALLERY of artwork.
Each morning I begin the daily rituals of coffee making. I grind three types of beans, creating various proportions between glorious decaffeinated flavors. My carefully integrated blend is like a fine varietal wine. I reach in the refrigerator for my pitcher of milk while I breathlessly await the intoxicating brew. As the aroma of freshly brewed coffee waifs thorough the air, I go to my mug rack and ponder the first most important decision of the day. Which mug! Now the mugs in the front row are my favorites, leaving those in the rear to linger until the front row has been vacated. The day after unloading the dishwasher is my favorite day, because then my much-loved mug will be ready for the grab. It’s that blue one-it’s similar to the brown one, but its better. The shape is so geometrically round, it could contain the world in my hand. And that rim! It’s delicately rounded so as my lips touch it, they glide along its surface. The handle came out perfectly. It has just the right rise on the grip and my hand fits so nicely, no pinching or curling of the fingers when holding this mug! It’s so similar to that brown one, but it’s the blue one, and the glaze came out flawlessly. All the beauty of that glaze that took so many firings to achieve is right there on that small piece. So you see, that mug is a representative of my body of work, or shall I put it more academically, it is indicative of an artist’s oeuvre.
So what makes a mug just a mug and when is it art? I have taught ceramics at all levels for the past thirty years. My students have laid out slop, mixed glazes, constructed large architectural wall murals, tables and sculptures. They have thrown, coiled, pinched, and rolled out thousands of slabs. They have chiseled kiln shelves, loaded kilns, and anxiously waited for me to say, “yes, you can unload now.” They have fired raku, sawdust, pit firings, cone 10, cone 6, cone everything. Some of them have become teachers and some have become studio potters. And while we made all those pots, we always talked about them. Verbal critiques have always been the estuary to expansion.
I always began a class by introducing the concept of the vessel. I define a vessel as “ceramics that is architecturally constructed with the methods of pottery making, but is viewed as sculpture”. Already they understand that this vessel is something other than “just a bowl”. I continue saying “a vessel is non functional, while pottery is functional”, and so, “the vessel’s main function is to be looked at, and not used”. We then spend our time making all kinds of artistic endeavors. Finally, when all the work is glazed, we set the pieces on the table and have our formal critique. We discuss the vessel’s aesthetics and all its virtues. And when it is all over, I bring out my favorite mug of the day, and put it on the table. Then we critique that mug as a vessel; it is a piece of art, not a functional item in which I drink my cherished coffee. Where is the difference? Art is in the eye of the beholder, or should I say, in the beholding.
Once at a raku party I had the good fortune to drink tea out of one of Hamada’s tea bowls. Was that “just a bowl” or was that art? My friend next to me drank her tea out of one of her tea bowls. Was her piece ‘just a bowl” or was it art? Now, Hamada’s tea bowl would cost several thousand dollars, while hers could be procured for a real bargain at $25.00. So then, does the maker define art?
If Hamada himself could have been a part of this discussion, he would have put us all to shame. His belief in the “Unknown Craftsmen” was so vital to his artwork and principles, that there was no division between art and craft for him. It was all the same for him, as it is for me. And that is how I have always taught this wonderful art form.
Verbal discussions about art provide the pathways towards assimilating the unique attitudes within an artist’s objective, as well as providing a base for aesthetic awareness. The discussion of art can never supplant the visual sensibilities of art. Art stands on its own merits, with a life force that conquers time and influence. Because in the end, it all occurs in the gut, you either like the piece, or you don’t.
So now you understand my dilemma. Which mug do I grab for my morning coffee!
By Jayne E. Shatz, PhD
www.jayneshatzpottery.com--FREE Ceramic History presentations and GALLERY of artwork.
Each morning I begin the daily rituals of coffee making. I grind three types of beans, creating various proportions between glorious decaffeinated flavors. My carefully integrated blend is like a fine varietal wine. I reach in the refrigerator for my pitcher of milk while I breathlessly await the intoxicating brew. As the aroma of freshly brewed coffee waifs thorough the air, I go to my mug rack and ponder the first most important decision of the day. Which mug! Now the mugs in the front row are my favorites, leaving those in the rear to linger until the front row has been vacated. The day after unloading the dishwasher is my favorite day, because then my much-loved mug will be ready for the grab. It’s that blue one-it’s similar to the brown one, but its better. The shape is so geometrically round, it could contain the world in my hand. And that rim! It’s delicately rounded so as my lips touch it, they glide along its surface. The handle came out perfectly. It has just the right rise on the grip and my hand fits so nicely, no pinching or curling of the fingers when holding this mug! It’s so similar to that brown one, but it’s the blue one, and the glaze came out flawlessly. All the beauty of that glaze that took so many firings to achieve is right there on that small piece. So you see, that mug is a representative of my body of work, or shall I put it more academically, it is indicative of an artist’s oeuvre.
So what makes a mug just a mug and when is it art? I have taught ceramics at all levels for the past thirty years. My students have laid out slop, mixed glazes, constructed large architectural wall murals, tables and sculptures. They have thrown, coiled, pinched, and rolled out thousands of slabs. They have chiseled kiln shelves, loaded kilns, and anxiously waited for me to say, “yes, you can unload now.” They have fired raku, sawdust, pit firings, cone 10, cone 6, cone everything. Some of them have become teachers and some have become studio potters. And while we made all those pots, we always talked about them. Verbal critiques have always been the estuary to expansion.
I always began a class by introducing the concept of the vessel. I define a vessel as “ceramics that is architecturally constructed with the methods of pottery making, but is viewed as sculpture”. Already they understand that this vessel is something other than “just a bowl”. I continue saying “a vessel is non functional, while pottery is functional”, and so, “the vessel’s main function is to be looked at, and not used”. We then spend our time making all kinds of artistic endeavors. Finally, when all the work is glazed, we set the pieces on the table and have our formal critique. We discuss the vessel’s aesthetics and all its virtues. And when it is all over, I bring out my favorite mug of the day, and put it on the table. Then we critique that mug as a vessel; it is a piece of art, not a functional item in which I drink my cherished coffee. Where is the difference? Art is in the eye of the beholder, or should I say, in the beholding.
Once at a raku party I had the good fortune to drink tea out of one of Hamada’s tea bowls. Was that “just a bowl” or was that art? My friend next to me drank her tea out of one of her tea bowls. Was her piece ‘just a bowl” or was it art? Now, Hamada’s tea bowl would cost several thousand dollars, while hers could be procured for a real bargain at $25.00. So then, does the maker define art?
If Hamada himself could have been a part of this discussion, he would have put us all to shame. His belief in the “Unknown Craftsmen” was so vital to his artwork and principles, that there was no division between art and craft for him. It was all the same for him, as it is for me. And that is how I have always taught this wonderful art form.
Verbal discussions about art provide the pathways towards assimilating the unique attitudes within an artist’s objective, as well as providing a base for aesthetic awareness. The discussion of art can never supplant the visual sensibilities of art. Art stands on its own merits, with a life force that conquers time and influence. Because in the end, it all occurs in the gut, you either like the piece, or you don’t.
So now you understand my dilemma. Which mug do I grab for my morning coffee!
Tuesday, October 30, 2007
WHY CERAMIC HISTORY?
WHY CERAMIC HISTORY?
By Jayne E. Shatz, PhD
www.jayneshatzpottery.com--FREE Ceramic History presentations and GALLERY of artwork.
Ours is a magnificent heritage, spanning over 25 thousand years of artistic triumph. Yes, as early as 27, 000 BPE (Before the Present Era), potters, known as Shamans were producing bone fired clay Venus figurines in small beehive type kilns. These lovely black carbon infused sculptures were the beginnings of our ceramic legacy, much the same as the wildly colored images parading along prehistoric cave walls were ancestor to present day painting.
As ceramists, we need to investigate who we were in order to fully appreciate who we are and to fantasize who we might become. The endless spiral of discovery is what congeals an art form that is rich in depth and mystery.
Who were those ancient Jomon potters of 14, 000 years ago that created frenetically coiled vessels equal to any contemporary potter? How magnificent were the vessels of ancient Greece that portray the mythology of a culture on the surfaces of their ware which are viewed as one of Greece’s highest art forms? The history of a culture is viewed through its art; the future of a culture’s art is built upon its history. Every artist has a story; these stories are fascinating to us as we reach for the bouquet of knowledge and hold it dear to our hearts. In the stories of those that lived before us, we gain momentum, a sense of courage to continue pursuing an art form that sometimes is not recognized by the “masses” or fully understood as art.
For many years as a ceramic artist and historian I have shared many of these stories. These stories come from the past and cross over to our present day. They are the stories of people embracing a life in art and who find great joy amidst the serious obstacles in working in “this thing called clay”.
Come to my website, www.jayneshatzpottery.com and enjoy FREE Ceramic History presentations in my “MOMENTS IN CERAMIC HISTORY” section. These lectures are complete with beautiful images, bringing the past into the present with just a quick click on your computer.
By Jayne E. Shatz, PhD
www.jayneshatzpottery.com--FREE Ceramic History presentations and GALLERY of artwork.
Ours is a magnificent heritage, spanning over 25 thousand years of artistic triumph. Yes, as early as 27, 000 BPE (Before the Present Era), potters, known as Shamans were producing bone fired clay Venus figurines in small beehive type kilns. These lovely black carbon infused sculptures were the beginnings of our ceramic legacy, much the same as the wildly colored images parading along prehistoric cave walls were ancestor to present day painting.
As ceramists, we need to investigate who we were in order to fully appreciate who we are and to fantasize who we might become. The endless spiral of discovery is what congeals an art form that is rich in depth and mystery.
Who were those ancient Jomon potters of 14, 000 years ago that created frenetically coiled vessels equal to any contemporary potter? How magnificent were the vessels of ancient Greece that portray the mythology of a culture on the surfaces of their ware which are viewed as one of Greece’s highest art forms? The history of a culture is viewed through its art; the future of a culture’s art is built upon its history. Every artist has a story; these stories are fascinating to us as we reach for the bouquet of knowledge and hold it dear to our hearts. In the stories of those that lived before us, we gain momentum, a sense of courage to continue pursuing an art form that sometimes is not recognized by the “masses” or fully understood as art.
For many years as a ceramic artist and historian I have shared many of these stories. These stories come from the past and cross over to our present day. They are the stories of people embracing a life in art and who find great joy amidst the serious obstacles in working in “this thing called clay”.
Come to my website, www.jayneshatzpottery.com and enjoy FREE Ceramic History presentations in my “MOMENTS IN CERAMIC HISTORY” section. These lectures are complete with beautiful images, bringing the past into the present with just a quick click on your computer.
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