Clay

3 Things You Need to Start Making Southwest Pottery

Getting started making Southwest pottery can seem daunting. This video will help you connect with all the resources you need to start in Southwest pottery, the tools, materials and the skills. Below are links to some of the resources I talk about in the video.

TOOLS
Gourd scrapers and polishing stones:
Pukis:

MATERIALS
Low fire clay:
Iron oxide for paint:

SKILLS – SELF PACED
Online video classes:
My blog:
Tony Soares YouTube channel:
Clint Swink's book:

SKILLS – WORKSHOPS & CONFERENCES
Andy Ward (me):
Cherylene Caver:
Kelly Magleby:
SW Kiln Conference:

#southwestpottery #coilpottery #pottery

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Native American Pottery Making

Native American pottery. Sometimes thought of as artifacts from the past or trendy decor, authentic Native American art is still very much alive in the form of pottery. In this segment, I visit Reyes Madalena in Moab, Utah to learn a bit more about this delicate process.

For more information about our program, visit:

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Ceramic Review: Masterclass with Daphne Carnegy

Tin-glazed earthenware expert Daphne Carnegy shares the process and story behind her botany-inspired functional wares. Discover more inside Ceramic Review issue 288, which features the full step-by-step masterclass. You can order current and back issues of the magazine from ceramicreview.com.

Film by Layton Thompson for Ceramic Review.

Finley Pots

See what happens when a potter throws new light into an ancient art form. Bill and Maggie Finley of Finley Pottery make luminaries – pots full of holes to display light patterns.

Ceramic Review: Masterclass with Adrian Bates

'With a background in graphics and teaching, working with ceramics might have been seen as an afterthought, but in fact it has become what I think of as my first ‘proper’ career.'

In this video, Adrain Bates takes us step-by-step through the processes he uses to create one of his organic Möbius Deconstructed forms

Discover how Adrian makes his work in the full step-by-step masterclass inside CR 301 (January/February 2020). You can order current and back issues of the magazine from ceramicreview.com.

Film by Layton Thompson for Ceramic Review

Studio Visit with Ceramic Artist Jenny Hata Blumenfield | Christie’s

Los Angeles-based mixed-media ceramic artist Jenny Hata Blumenfield helps us reconsider the place of ceramics and pottery in contemporary art. ‘I see clay as having the widest range of expression,’ she explains. ‘By working with it the way that I do, I hope that steadily people will start to receive this idea of ceramics or clay as something beyond just functional.’

Blumenfield incorporates Lucite, an acrylic resin, into some of her works. In this short film, she describes transforming a two-dimensional drawing into a three-dimensional sculpture, which truly comes into its own when taken outside.

One of the most striking aspects of her process is her embrace of division, dissection and separation.
‘Being half-Japanese and half-American, I always felt stuck between two cultural identities,’ she explains. ‘I’m these two halves that really can’t seem to connect — I just exist in the in-between.’

But there is a second duality at play here, too. ‘I just would love to cut everything in half or into quarters just so that I can continue to break down this idea that ceramics can only be functional and can only be used in a day-to-day setting.’

‘That allows me to really incorporate other materials — Lucite, wood, paper, photographs — because it takes away the formalism of the vessel itself, and allows me to get experimental.’

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Why Porcelain Is So Expensive | So Expensive | Business Insider

Handmade ceramics aren't cheap, but porcelain is often even more expensive. Compared to other ceramics, porcelain is non-porous, white, and translucent. The secret to these differences is in the clay. But even for experienced potters, porcelain can be challenging to work with. So how is porcelain made and why is it so expensive?

MORE SO EXPENSIVE VIDEOS:
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A Legacy in Clay: The Ceramics of Pablo Picasso in Return to Earth

Presented September 21, 2013.

'Pablo Picasso: Life with Art' – Dakin Hart, Senior Curator, The Noguchi Museum, New York

In this presentation Dakin Hart explores Picasso’s transition to ceramic practice after World War Two. Tracing the personal, social and political factors which lead to Picasso’s desire to create objects which merged both sculpture and painting to create a visual legacy which would withstand the test of time.

Organized to coincide with the public opening of the exhibition 'Return to Earth: Ceramic Sculpture of Fontana, Melotti, Miró, Noguchi, and Picasso, 1943–1963', this symposium offers a number of new perspectives on the often-overlooked, yet ground-breaking work in fired clay of some of the most important artists of the 20th century.

Watch other presentation from the 'Return to Earth' Symposium:
'Joan Miró and the Artigases: A Phantasmagoric World of Living Monsters' – Jed Morse, Chief Curator, Nasher Sculpture Center

'Isamu Noguchi Ceramics: A Kind of Antisculpture' – Catherine Craft, Adjunct Assistant Curator for Research and Exhibitions, Nasher Sculpture Center

'A View from Today': Panel Discussion

Since 2006, Dakin Hart has been a prolific independent curator and researcher. Recent projects have included an unconventional retrospective of work by the American Fluxus, mail, and book artist Davi Det Hompson, on view at the ZieherSmith Gallery, New York, through March 2, 2013; and 'Sculpture in So Many Words: Text Pieces 1960–1980', which was presented at the Nasher Sculpture Center, Dallas in 2013. From 2007–2010, he worked with Picasso scholar John Richardson to develop a series of exhibitions for Gagosian Gallery exploring aspects of Picasso’s career. From 2006–2007, he was research assistant for Mr. Richardson on the third volume of the latter’s ongoing biography of Picasso, 'A Life of Picasso Vol. III: The Triumphant Years'. He has contributed a catalogue essays on Picasso, for the 'Return to Earth'. Dakin Hart has served as Assistant Director, Nasher Sculpture Center (2002–2004); Director of Arts Programs and Artistic Director, Montalvo Arts Center, Saratoga, CA (2000–2002); and Director of the Lucas Artist Residency Program, the third oldest artists’ community in the U.S. (2002). He was Assistant to the Director of The Fine Arts Museums of San Francisco from 1995–2000. Dakin Hart earned his B.A. in English, with a minor in art history, from Georgetown University, and an M.A. in the history of art from the Institute of Fine Arts, New York University, where he is presently working to complete his PhD (dissertation in process; projected 2013).

The Nasher Sculpture Center’s ongoing 360 Speaker Series features conversations and lectures on the ever-expanding definition of sculpture. Guests are invited to witness first-hand accounts of the inspiration behind some of the world’s most innovative artwork, architecture and design.

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The 360 videography project is supported by Suzanne and Ansel Aberly. This support enables digital recording of all 360 Speaker Series programs and the creation of an online archive for learners of all ages.