preserves the expressiveness of spontaneous game appli cation. The handles are a
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preserves the expressiveness of spontaneous game appli cation. The handles are actually flat perforated panels still show traces of the wo orking process. Woodman used earthenwarecondu , a relatively coarse day that is cive to natural shapes like the bamboo segments that the vase bodies suggest. She threw cach in three pieces on the wheel, and then joined them before adding the handles. The Divided Vases have a fresh look, as if they just came out of the firing kiln. Adrian Saxe's Les Rois du monde futur (Rulers of the Future World) (fig. 13.3) seems precious and exqui comparison. He used porcelain for the main body, working it into a gourdlike shape before tipping it slightly off-axis. The overly elegant handles recall 13.4 Peter Voulkos Untitled Plate CR952, 1989, wood-fired Dreware. 20, 46 Sherry Landry or temporary An o The Viola family treat 13.3 Adrian Saxe. La Rois du mond futur (Ruler of the Future World. 2004. Porcelain, stoneware, overglare enamel, lusters, mixed media. 26" x 13" x 10 Frank Lloyd Gallery, Santa Monica. Photo: Anthony Carta. antique picture frames, while the rough base quotes the style of traditional Chinese pottery. The works title shows the artist's sarcastic mindsetThe rulers of the future world are insects, two of which crawl up the cap. The acceptance of clay as an art medium (rather than something to shape into dishes) owes a great deal to the California sculptor Peter Voulkos. He was trained as a potter and had a studio that sold dishes in upscale stores until the mid-1950s. Then he began to explore abstract art, and he found ways to incorporate Someo of its techniques into his cerami work. At first he took a fresh approach to plates: He flexed them out of shape and scratched their surfaces as if they were paintings, thereby rendering them useless in the tradi tional sense. We see the results of this treatment in his Untitled Plate CR952 (fig. 13.4). His first exhibition of these works in 1959 caused a great deal of contro ause most people did not think of Stoneware as an art medium. Yet none could deny the boldness of his inventions. o watch a podcast interview with Adrian Saxe about Rulers of the Future World on myartislab.com Both Peter Voulkos and Toshiko Takaczu were influenced by the earthiness and spontaneity of some traditional Japanese ceramics, as well as by Expressionist paintingyet they have taken very dif ferent directions. Voulkoss pieces are rough and CRAFT MEDIA: FLIRTING WITH FUNCTION CHAPTER 13Explanation / Answer
Both Peter Voulkos and Toshiko Takaezu were influenced by the earthiness and spontaneity of some traditional Japanese ceramics as well as by expressionist paiting yet they have taken very different directions. Voulkos's pieces are rough and aggresively dynamic, but Takaezu's Makaha Blue II offers subtle restrained strength. By closing the top of container forms, she turns vessels into sculptures, thus providing surfaces for rich paintings of glaze and oxide.
Toshiko Takaezu went to an art school at the University of Hawaii and arrived in the States in 1951 on the heels of Pearl Harbor, the interment of Japanese –Americans, and the calamity of Hiroshima and Nagasaki. At Cranbrook Academy of Art she studied with Maija Grotell (1899-1973) who had come from the Bauhaus in Germany. In the following decade, she became known for her closed forms which she achieved by the simple yet radical act of closing the mouth of the vessel. Takaezu and other ceramic artists of the 1950s and 1960s, were instrumental in exploring clay as a medium for art beyond its conventional utilitarian purpose. Early on Takaezu established her position in a male dominated field where Peter Voulkos (1924-2002) and John Mason on the West Coast were already doing enormous experimental work in clay. In spite of the physical demands of this heavy and temperamental material, Toshiko Takaezu manipulated masses of clay on the potter’s wheel and quietly pursued her own evolution as an artist. From 1955 to 1964 Takaezu went on to teach at the Cleveland Institute of Art, and from 1967 to 1992 at Princeton University.
Peter Voulkos is the first person, who thought stoneware as an art medium. But still both did a wonder job in the ceramic world using clay and stoneware as an important medium for making equipments, vessels, sculptures etc...
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