Showing posts with label Artists J - R. Show all posts
Showing posts with label Artists J - R. Show all posts
Thursday, July 23, 2020
Sunday, August 27, 2017
Jennifer Ling Datchuk, Artist
Human hair woven into the ceramic forms.
"My work has always dealt with identity, with the sense of being in-between, an imposter, neither fully Chinese nor Caucasian. I have learned to live with the constant question about my appearance: “What are you?” I change my response depending on my hair, make-up, clothes, what I am doing, where I am at, or what I am eating – who I am at the moment. I find people are rarely satisfied with my answer. I explore this conflict through my chosen media – porcelain, which nods to my Chinese heritage but also represents “pure” white – the white desire I find in both cultures. Bound by these conditions, I stitch together my individual nature, unravel the pressures of conformity, and forever experience pain in search of perfection."
Artist Website:
Shari Mendelson, Artist
NOT Clay!
However!
We can see an influence from Greek and Roman vessels
and
how ideas about form, texture, line and space create a meaningful object.
Shari Mendelson, “Ennion-like Vessel with Ten Handles,” (2015), 15 x 6 x 6 inches
Two-handled jar (amphora) with snakes on handles
Greek
Late Geometric IIA Period
735–720 B.C.
Late Geometric IIA Period
735–720 B.C.
source mfa.org
Shari Mendelson, “Large Purple Vessel with Yellow,” (2016), 28 x 16 x 16 inches
Shari Mendelson, “Blue Syrian Vessel with Long Neck,” (2016), 15 x 5.5 x 6 inches
Terracotta pyxis (box with lid)
Period: Geometric
Date: mid-8th century B.C.
Culture: Greek, Attic
Medium: Terracotta
Dimensions: Overall: 4 1/8 x 11 1/4 in. (10.5 x 28.5 cm)
H. with cover 9 15/16 in. (25.2 cm)
H. with cover 9 15/16 in. (25.2 cm)
Description: While pyxides are frequently found in burials, they also may have served as a container for small objects during the owner's lifetime. In the grave they may have contained perishable offerings, such as food. The knob of the lid assumes many different forms. Here the articulation of the shaft contrasts particularly with the smooth surface of the box.
source metmuseum.org
Barrel oinochoe, 8th–early 7th century b.c.; Italo-Geometric
Italian peninsula, possibly Campania or Etruria
Terracotta
H. 13 ¼ in.
Terracotta
H. 13 ¼ in.
Metropolitan Museum:
In the Geometric period of about 900 to 700 B.C., Greeks continued to be active seafarers, seeking opportunities for trade and founding new, independent cities in Asia Minor, Italy, and Sicily. In the Late Geometric period, around 760–750 B.C., Greeks from the island of Euboea (near northern Attica) established a colony at Pithekousai, near the Bay of Naples. The settlement received Levantine goods in quantity, as well as Corinthian, Cycladic, and Rhodian pottery, most of which were exported to the Italian mainland. This influx of goods and designs from the East played a major role in initiating the Italic and Etruscan Orientalizing period (ca. 750–575 B.C.). Likewise, Euboean vases were exported from Pithekousai to Campania and Etruria, as were local (Italic) vessels decorated with typical Euboean Late Geometric designs, as on this oinochoe, a small jug that was used to dip out and serve wine. Its main figurative scene, two goats standing upright and, perhaps, nibbling at a tree, is a familiar motif in Near Eastern art, and appears on vases made in Euboea at this time. The distinctive barrel shape of this vessel, however, is more Italic than Greek; similar oinochoi have been found in Etruria, near Bisenzio, and at Marsiliana.
Source: metmuseum.org
Between the beginning of the sixth and the end of the fourth centuries B.C., black- and red-figure techniques were used in Athens to decorate fine pottery while simpler, undecorated wares fulfilled everyday household purposes. With both techniques, the potter first shaped the vessel on a wheel. Most sizeable pots were made in sections; sometimes the neck and body were thrown separately, and the foot was often attached later. Once these sections had dried to a leather hardness, the potter assembled them and luted the joints with a slip (clay in a more liquid form). Lastly, he added the handles. In black-figure vase painting, figural and ornamental motifs were applied with a slip that turned black during firing, while the background was left the color of the clay. Vase painters articulated individual forms by incising the slip or by adding white and purple enhancements (mixtures of pigment and clay). In contrast, the decorative motifs on red-figure vases remained the color of the clay; the background, filled in with a slip, turned black. Figures could be articulated with glaze lines or dilute washes of glaze applied with a brush. The red-figure technique was invented around 530 B.C., quite possibly by the potter Andokides and his workshop. It gradually replaced the black-figure technique as innovators recognized the possibilities that came with drawing forms, rather than laboriously delineating them with incisions. The use of a brush in red-figure technique was better suited to the naturalistic representation of anatomy, garments, and emotions.
The firing process of both red- and black-figure vessels consisted of three stages. During the first, oxidizing stage, air was allowed into the kiln, turning the whole vase the color of the clay. In the subsequent stage, green wood was introduced into the chamber and the oxygen supply was reduced, causing the object to turn black in the smoky environment. In the third stage, air was reintroduced into the kiln; the reserved portions turned back to orange while the glossed areas remained black.
Painted vases were often made in specific shapes for specific daily uses—storing and transporting wine and foodstuffs (amphora), drawing water (hydria), drinking wine or water (kantharos or kylix), and so on—and for special, often ritual occasions, such as pouring libations (lekythos) or carrying water for the bridal bath (loutrophoros). Their pictorial decorations provide insights into many aspects of Athenian life, and complement the literary texts and
from the Archaic and, especially, Classical periods.
Saturday, August 19, 2017
Gillian Lowndes, Artist, b. 1936, d. 2010, United Kingdom
Who? Historically, the field of ceramics art has been unfairly labelled as a fusty, crafty pastime – one inferior to its more cerebral siblings in sculpture and painting, and founded on the practical uses of pottery rather than museum-worthy artwork. This all changed, however, with Gillian Lowndes. Born in Cheshire in 1936, the British sculptor began her career in comparatively traditional fashion, studying at the Central School of Arts and Crafts in London and for a year at the Ecole des Beaux-Arts in Paris in the 1950s. Switching from Art to Ceramics midway through her studies, she worked primarily in clay, using coiling and slabbing techniques to develop her sculptural forms.
It wasn’t until she spent a year and a half in Nigera with her partner Ian Auld, in fact, that she began to develop the radical, experimental techniques which she has since become famous for. Living with Nigeria’s Yoruba people, Lowndes was exposed to tribal art the likes of which she had never seen before, which combined materials, textures and surface decoration with a vivacity that she found irresistible. “Following her return to the UK, Lowndes began experimenting, dipping fibreglass sheets into slip and porcelain, draping this over wire skeletons, creating delicate yet visually intense sculptural forms,” writes the Centre of Ceramic Art. “She started breaking up fired ceramics, attaching pieces together, assembling montages of her own work.” This radical and quietly assured new direction helped Lowndes to establish herself as one of the most daring voices of her generation in the world of ceramics, and she maintained this role, teaching, making and exhibiting her own work until her death in 2010.
What? Lowndes’ experimental methods have posed a challenge to the world of ceramics ever since she first developed her controversial methods on return from Nigeria in the 1970s – not least through her innovative destruction and then use of found objects to create her sculptures, ranging from bricks, wire and kitchen utensils (which she would often heat to immense temperatures before incorporating their remains in her work) to bulldog clips, can openers and pliers. “The found materials [Lowndes employs] are poor, low-status ones,” Tanya Harrod wrote in the January issue of Transcending Clay Crafts; “old bricks, clinker, granite clippings, mild steel strip, cheap industrially made cups and tiles”. This presented a challenge to the stubborn orthodoxy of ceramic sculpture, which was ill at ease with Lowndes’ willingness to straddle the worlds of high and low art, and to draw attention to residual markers of the working and upper classes. This, however, was exactly her point. “It is the methods and materials that produce the ideas, not the other way round,” she told the British Council. She continued in her experiments unhindered.
The rich visual language which resulted from such a democratic approach to her materials attracted an impressive following to Lowndes’ work: many of her pieces made their way into private collections thanks to her representation by Primavera Gallery; the V&A acquired pieces from the 1960s onwards; she had a major solo exhibition with the Crafts Council in 1987 and took part in a groundbreaking exhibition entitled The Raw and the Cooked in 1993. Not only was Lowndes comfortable occupying the liminal space between fine art and ‘working class’ craftsmanship, she positively revelled in it, maintaining a defiant modesty which she is remembered for to this day.
Why? In spite of Lowndes’ radical legacy her work has gone largely uncelebrated in recent years, tucked away in private collections. This winter, however, a retrospective exhibition at London gallery The Sunday Painter – the largest presentation of her works for more than 20 years – is returning her to her well-deserved place in the limelight. “Lowndes operated on the border territory between fine art and craft, and is renowned for her sensitive investigations of material and process, of serendipity and sculptural form,” the gallery explains. “Pigeonholed by the craft establishment of the time, her work predated the expanded ceramics field of the late 20th and early 21st centuries, while her pioneering transformation of clay and found objects places her firmly in the language and discourse of sculpture, a critical context that remained closed to her in her lifetime.” Now, at last, Lowndes is receiving her dues.
Gillian Lowndes’ work is on display at The Sunday Painter until December 23, 2016.
Text by Maisie Skidmore
Source anothermag.com
Saturday, July 1, 2017
Tuesday, May 9, 2017
Diana Bourgoyne and Robin Ripley, Kinetic and Sound Installation
In INTERFACE/INTERFACING, a suspended needle moves slowly along a thread stretched across the gallery wall. The needle strikes the thimbles creating subtle percussive sound and also triggering the pre-recorded sounds embedded in the electronics. Visitors are invited to intimately experience line and space not only visually but also through movement and sound. Life and art intersect through this drawing together of various art practices and sensory experiences.
Accompanying the installation is NOTIONS, a series of mixed media works by Robin Ripley, that takes us further into this extra-ordinary experiencing of everyday objects.
DIANA BURGOYNE’s work addresses the relationships between society, technology, and the human environment. Burgoyne assembles electronic components to create works that appear “hand-made” to humanize what is often perceived as a sterile material. The material, content, and aesthetic of her art practice are developed from the idea of constructing “Electronic Folk Art”.
ROBIN RIPLEY works with the language of objects, highlighting the composite nature of perception. Her work re-examines familiar objects as well as explores their function as signifiers and repository for sensory information, knowledge and memory. Ripley creates objects that do not exist in the natural world and yet reflect or transmit information about our world and our place in it.
Numen Gallery
Link here to see more photos and video.
Tuesday, February 21, 2017
Sunday, January 22, 2017
Installation Artists
Installation view of work by Gabriel de la Mora (floor), Koki Tanka (screen), Farrah Karapetian (wall),California-Pacific Triennial, Orange County Museum of Art, Newport Beach, Image courtesy of Orange County Museum of Art
Saturday, January 7, 2017
Barbara Kruger, b. 1945, American
Hirshhorn Museum, Washington D.C.
The entire space—walls, floor, escalator sides—is wrapped in text-printed vinyl, immersing visitors in a spectacular hall of voices, where words either crafted by the artist or borrowed from the popular lexicon address conflicting perceptions of democracy, power, and belief. hirshhorn.si.edu
Kruger creates installations of her work in galleries, museums, municipal buildings, train stations, and parks, as well as on buses and billboards around the world. Walls, floors, and ceilings are covered with images and texts, which engulf and even assault the viewer. arthistoryarchive.com
Friday, January 6, 2017
Liliana Porter, b. 1941, Argentina
Wrinkled Environment Installation
1969 - 2009
Copy paper, Adhesive tape, Offset Printing
source link here
In this installation, the process of randomly wrinkling paper that is already printed to look like wrinkled paper, means the artist can comment on the distance between reality and fiction, as well as alluding to the process and the time spent on the work. The scale of the offset prints takes on monumental proportions, covering whole walls with the image of paper wrinkling, while simultaneously showing the process in the exhibition room itself. The installation contrasts the blocks of paper on the walls with others that have been torn down, literally wrinkled and then thrown to the floor like trash.
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