Generation - Vol. 42 No. 1, Winter/Spring 2014
A table of contents with a short summary of each article for Vol. 42, No. 1.
Sean O'Connell. Salad Days Plates, greenware (rear), glazed earthenware (front), 2009.
For a potter, repetition is routine. Making pots over and over again is how I come to understand them. However, it's not without its tedious side, and it's a challenge to balance between discovery and monotony.
Flower Brick, Six Stem, 2013.
In reflecting on my current curriculum, it is hard to distinguish my own innovations from the inherent differences between higher education today and twenty years ago.
Mudshark Studio Growlers
In his Life Cycle Completed, developmental psychologist Erik Erikson uses the term "generativity," referring to the task as well as the responsibility of establishing and guiding the next generation.
Left: Iqaluit, 2013. Ceramic, steel mixed media, 12 x 12 x 28 in. Inset:Kudlik (blue), 2013. Ceramic,mixed media, 22 x 15 x 16 in. All images courtesy of Lacoste Gallery.
There are plenty of moments when I sense it’s not working, but I may need days, weeks, months, or years to understand why. And so, not infrequently pieces are put aside, awaiting solutions that don’t exist yet...
Tension, 2013. Ceramic Cone 6 oxidation, 16 x 12 x 32 in.
I realized that since returning to school, I had rarely allowed myself simply to work. I would plan out every detail and then kill myself trying to make the piece just right. So, I did something new. I approached the clay with the understanding that I might make work that would crack, blow up, melt, or simply look awful. And that was okay.
Del Harrow, Air_Breath, 2012. Slip cast porcelain, glaze, video, large drawing created using a graphite pencil attached to a CNC milling machine.
By now digital technology has affected studio practices for all of us. In this talk we're not going to talk about marketing, branding, or digital images, which have all had significant ramifications for the ceramic artist's studio practice.
Generation - Vol. 42 No. 1, Winter/Spring 2014
What changes have we experienced in the field of studio pottery over the past fifteen years? How do we situate the dynamic and varied practice of making pots in a "post-studio" and "post-disciplinary" moment that seems to call for a different approach?
Sunshine Cobb, Pitchers, 2013
You've caught me at a weird moment: I feel as if I am running full speed at a wall of indecision. For the past fifteen years, I have been working towards "having a career in ceramics," and I have come to realize that it doesn't mean what I thought it meant.
James C. Watkins. Double-Walled Basket, 2013. Saggar-fired with Cone 04 glaze, 16 x 14 in. Photograph by Jon Thompson.
My ceramic work is an artifact of my reality, made up of historical references, cultural melodies, and an aesthetic vocabulary...Most important are the cultural memories of growing up as an African American in the 1950s and 60s, in a farming family in Athens, Alabama.