[This book] "is an attempt...to take a regional look at American art pottery and...to trace the continuity that runs through it from its amateur beginnings in the late 1870s to its almost total industrialization..." -- Curator's introduction.
"In this illustrated volume, anthropologist Duane Anderson presents the first comprehensive study of micaceous pottery in New Mexico and explores its current transition from a traditional culinary ware to an exciting contemporary art form." "He also traces the history and prehistory of micaceous pottery making in the Southwest, describes pottery-making techniques, and explores the development of micaceous ware as a fine art. The volume includes a complete illustrated catalog of the micaceous pottery collection of SAR's Indian Arts Research Center, a comprehensive survey of Southwestern micaceous ceramics in museums worldwide, and a roster of micaceous potters practicing in northern New Mexico today."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
This first-ever encyclopedia of the Midwest seeks to embrace this large and diverse area, to give it voice, and help define its distinctive character. Organized by topic, it encourages readers to reflect upon the region as a whole. Each section moves from the general to the specific, covering broad themes in longer introductory essays, filling in the details in the shorter entries that follow. There are portraits of each of the region's twelve states, followed by entries on society and culture, community and social life, economy and technology, and public life. The book offers a wealth of information about the region's surprising ethnic diversity -- a vast array of foods, languages, styles, religions, and customs -- plus well-informed essays on the region's history, culture and values, and conflicts. A site of ideas and innovations, reforms and revivals, and social and physical extremes, the Midwest emerges as a place of great complexity, signal importance, and continual fascination.
A lucrative trade in Athenian pottery flourished from the early sixth until the late fifth century B.C.E., finding an eager market in Etruria. Most studies of these painted vases focus on the artistry and worldview of the Greeks who made them, but Sheramy D. Bundrick shifts attention to their Etruscan customers, ancient trade networks, and archaeological contexts. Thousands of Greek painted vases have emerged from excavations of tombs, sanctuaries, and settlements throughout Etruria, from southern coastal centers to northern communities in the Po Valley. Using documented archaeological assemblages, especially from tombs in southern Etruria, Bundrick challenges the widely held assumption that Etruscans were hellenized through Greek imports. She marshals evidence to show that Etruscan consumers purposefully selected figured pottery that harmonized with their own local needs and customs, so much so that the vases are better described as etruscanized. Athenian ceramic workers, she contends, learned from traders which shapes and imagery sold best to the Etruscans and employed a variety of strategies to maximize artistry, output, and profit.
A new pottery tradition has been developing along the border of northern Indiana and southern Michigan. Despite the fact that this region is not yet an established destination for pottery collectors, Michiana potters are committed to pursuing their craft thanks to the presence of a community of like-minded artists. The Michiana Potters, an ethnographic exploration of the lives and art of these potters, examines the communal traditions and aesthetics that have developed in this region. Author Meredith A. E. McGriff identifies several shared methods and styles, such as a preference for wood-fired wares, glossy glaze surfaces, cooler colors, the dripping or layering of glazes on ceramics that are not wood-fired, the handcrafting of useful wares as opposed to sculptural work, and a tendency to borrow forms and decorative effects from other regional artists. In addition to demonstrating a methodology that can be applied to studies of other emergent regional traditions, McGriff concludes that these styles and methods form a communal bond that inextricably links the processes of creating and sharing pottery in Michiana.
Presents the artistic accomplishments of the American potter Karen Karnes, discussing her early works produced during communial living in North Carolina and New York, her mature work produced in Vermont, and her status as an international artist.
Colourful, imaginative, vibrant, delicate and dramatic – these are just some of the hallmarks of the artworks that have garnered international accolades for Ardmore Ceramic Art in rural KwaZulu-Natal. It is here, in South Africa’s most successful ceramics studio set in the verdant Midlands, that exquisitely handcrafted and highly detailed figurative works and functional ware are created by more than fifty artists who draw on Zulu traditions and folklore, history, the natural world, and their own lives for inspiration. In turn, it is the lives of the sculptors and painters of Ardmore that fire the vision of the woman behind it all: Fée Halsted is an artist whose love of teaching and determination to fight poverty and AIDS have set others on the path of creative self-discovery and ultimately worldwide acclaim. Ardmore – We are because of others tells the extraordinary story of this famous studio – from its humble beginnings in a poverty-stricken corner of South Africa to its fame as a producer of exceptional and irresistible objets d’art prized by collectors, galleries and museums throughout the world. It is also the story of the indomitable Fée Halsted who is the driving force behind the enterprise, and the artists whose inventive spirit and fearless creativity are at the heart of Ardmore. Fée Halsted graduated with a BA (Fine Art) from the University of Natal, Pietermaritzburg (now the University of KwaZulu-Natal), in 1981 and completed an Advanced Diploma in ceramics in 1983. She lectured at the former Durban Technikon before establishing Ardmore Ceramic Art along with Bonnie Ntshalintshali in 1985. In 1990 the duo was jointly awarded the prestigious Standard Bank Young Artist Award. In 2010, in recognition of her work at Ardmore and for her efforts to empower women and uplift the lives of their families, Fée was honoured by the Philadelphia-based international nongovernmental organisation, Women’s Campaign International. To date she has participated in more than 60 national and international exhibitions and biennales, and Ardmore ceramics can now be found in several major public collections and museums, including the Museum of Cultures in Basel, Switzerland, the Museum of Arts and Design in New York, USA, the Hetjens Museum in Düsseldorf, Germany, the South African National Gallery, the Johannesburg Art Gallery and the Standard Bank Collection, as well as in a number of private collections.
From architecture to food to music, this volume provides a textured examination of the many ways in which the Midwest has served as an undeniable cross-section of American culture. Includes the states of Illinois, Indiana, Iowa, Michigan, Minnesota, Missouri, Ohio, and Wisconsin.
This reissue of three early essays on Mimbres archaeology and design fills a major gap in the literature on the Mimbres, whose pottery has long fascinated students of the prehistoric Southwest. Fewkes, one of the eminent archaeologists of the early twentieth century, introduced Mimbres art to scholars when he published these essays with the Smithsonian Institution between 1914 and 1924, under the titlesArchaeology of the Lower Mimbres Valley, New Mexico, Designs on Prehistoric Pottery from the Mimbres Valley, New Mexico,andAdditional Designs on Prehistoric Mimbres Pottery.Long out-of-print, these essays represent the first analysis and description of the complex abstract and representational designs that continue to fascinate us 2,000 years after they were painted.