Angus Suttie: Pots of Pride. An interview with Jeffrey Weeks

By Millen Brown-Ewens More than thirty years after his untimely passing, Angus Suttie and his ceramics refuse categorisation. For the UK pottery establishment, his evocative and celebratory works represent humanism, boldness, and freedom, reflecting not only the nuances of his lived experience but also a vital and unique form of activism that chimes with contemporary resonance. A new retrospective at...

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Simone Leigh’s Sublime Survey Reaches Los Angeles

By Aleina Edwards As a multimedia artist predominantly focused on ceramics, Simone Leigh is very concerned with her material—its essence and associations, its myriad histories. In the past two decades, Leigh has made a name for herself by rendering figures in clay, using racially-charged images like face jugs, cowrie shells, and stylized busts to reclaim and reconstitute the Black femme...

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Hidden Stone – Excavating the Materiality of Titanium White

Discover the story of titanium dioxide (TiO2) in Dr. Marte Johnslien’s article, exploring how the world’s most-used white pigment shapes our world while profoundly impacting the environment. Through ceramics and glaze, her research group critically engages with TiO2’s environmental implications, connecting its mineral origins to broader societal and ecological questions, and highlighting the artistic journey of using materials from mining...

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Expanded Ceramics / Holocene Agriculture: Recent Performance and Site Proposals

By John Roloff The project and related concepts presented in Expanded Ceramics/Holocene Agriculture are an extension of over 50 years of work in ceramics that view the materials and processes of ceramics in a geologic and environmental context. Originating from my studies under Robert Arneson and Eldridge Moores as an art/geology major at UC Davis in the late 1960’s, the...

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A Journey Through (un)Known Territories: The 5th Officine Saffi Award

By Katherina Perlongo (un)Known Territories is the title of the exhibition that, from May 29 to July 31, presented ceramic works by 32 finalists of the fifth edition of the Officine Saffi Award in the foundation's new headquarters located in Via Niccolini 35a, in the middle of the vibrant Sarpi-Chinatown district of Milan. The exhibition and the associated prize, which...

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Sculpting the Darkness Within

By Doug Navarra Many years ago, having just discovered the potter’s wheel, my high school woodshop teacher saw my interest. He himself, a wood sculptor, invited me to see an exhibition of Toshiko Takaezu at our hometown Heckscher Museum in Huntington, NY. The year was 1971; I would have been either 15 or 16 years old and only been on...

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Debra Sloan’s Les Grandes Dames: A Review and Conversation

Part I. Review of Debra Sloan: Les Grandes DamesPart II. Interview with Debra Sloan By Amy Gogarty Vancouver artist Debra Sloan is best known for her ceramic sculptures of animals and infants, which exude personality and often humour. Her babies, in particular, bely uncritical sentimentality in their frank displays of frustration, anger, and resistance. With her latest exhibition at the...

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Clay 3D Printing – A Potter’s Perspective

By Hendrien Horn As clay 3D printing has started to become popular amongst some potters, it has become a topic of debate, which can, at times cause some opposing opinions. Furthermore, I think that once an artistic process is better understood, the doors for a healthy conversation can open. As a potter who has worked with both “traditional” and “technological”...

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Of Anatomy and Corruption: Carlos Enrique Prado’s Stubborn & Cabeza Dura Series

By Nathan J. Timpano I became acquainted with the science of anatomy, but this was not sufficient; I must also observe the natural decay and corruption of the human body.Mary Shelley, Frankenstein (1818) When encountering sculptural works in Carlos Enrique Prado’s two newest series, Stubborn: The Way of Sorrows and Cabeza Dura (“Hardheaded” in English), one might be reminded of...

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Salutations of Material, Exaltations of Materiality

Part I. Salutations of Material, Exaltations of MaterialityPart II. Interview with Niels Dietrich By Doug Navarra When you arrive at Peter Freeman Inc Gallery in the Chelsea district of Manhattan, I ask the viewer to please leave your preconceptions of ceramic art at the door. This group exhibition of ceramics titled “Made in Cologne” is different for several reasons. If...

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Kasumi Ueba: A Cultural Chimera

By Derek Larsen The city of Kyoto holds a special place in the hearts of the Japanese people. The center of the ancient empire for over one thousand years, Kyoto remains the cultural capital of Japan. The ceramic arts of Kyoto are diverse and centuries-old, traditionally connected to the Zen tea ceremony, related kaiseki formal meal, and flower arranging. Referred...

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From Functional Objects to Decorative Vases and Figurative Works: Highlights from Ceramic Art London

By Emma Park Over a hundred makers from around the world exhibited at this year's Ceramic Art London. The fair was held in Kensington Olympia West, a huge warehouse divided into white-walled display booths and a large open space for talks. Makers at CAL exhibit not with galleries but at their own individual stalls, enabling viewers to explore their oeuvre...

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Sensitive clay: at the intersection of nature and culture

By Mariane Tremblay, 2024 What would be an "experimental exercise in the cultural identity of materiality"? Summer 2023: let's look back at a provoked, if not improbable, meeting between a Quebecer and a Hungarian, from two generations of ceramists, who asked themselves this question inherent in their medium. Contamination et matérialité culturelle brings together the results of a month of...

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Of The Body, And Clay

By Soph Boobyer, Sarah Myerscough, and Lottie Hughes Rhythmic gestures and evolving figuration - to bind body and clay feels intrinsic. Yet, amongst the suggestions of a shapely Amphora, or fleshy textures of leather-hard clays, there is a yearning to expand upon ceramic practices as informed by the traces of a living body. 'Earthly Bodies' is the third major ceramic...

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Ceramics Now announces a new Call for Papers

Ceramics Now announces a new Call for Papers In honoring our commitment to showcasing the vibrancy and diversity of contemporary ceramics, Ceramics Now is launching a new call for papers and inviting essays, exhibition reviews, features on trends or major events, and insightful interviews for publication on our platform. Ceramics Now, a leading publication, is committed to showcasing the vibrancy...

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The Creation of Abstract Ceramic Objects by the artists of Shikokai in the Late 1940’s

Excerpt from the essay “The Role of Shikokai and Sodeisha in Postwar Ceramic Art Objects” by Kazuko Todate, Professor in the Faculty of Art and Design Center of Liberal Arts, Tama Art University, published on the occasion of the exhibition “Ceramic Frontiers: Sodeisha & Shikokai in Post-war Japanese Art” at Dai Ichi Arts, March 2024. During the first half of...

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Stewart Scambler’s ceramic ode to the Land, Yindjibarndi Country, won the 2023 John Stringer Prize

By Louise Rae Stewart Scambler's love for Western Australia shines through in his stunning wood-fired works in the 2023 John Stringer Prize, exhibited at the John Curtin Gallery from 3 November to 10 December 2023. The exhibition is an invitation-only non-acquisitive annual event for Western Australian contemporary artists. Scambler's win in this forum is a huge validation for ceramics within...

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Ozioma Onuzulike: Dotted Lines, 2023

Ozioma Onuzulike: Dotted Lines, 2023 Essay by Ngozi-Omeje Ezema Over the years, ceramics have transcended through generations, changing styles, functions, and structures. Closer observation revealed these changes occurring in the Nsukka art school after the assimilation of Uli and Nsibidi designs. H.C. Ngumah opined that ‘with the formalization of ‘uli’ design as an artistic language of expression in the Nsukka...

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