CERAMICS ART + Perception Issue 122

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CONTENTS To live is to Leave Traces: Anne Mette Hjortshøj by Sebastian Blackie The Porcelain of Capodimonte by Giovanni Piesco Courting Indigo by Jack Troy Brick by Brick: A Brief History of Clay Bricks from Kansas, USA by Chris Garcia Jane Yang-D’Haene at Bienvenu Steinberg & J, New York City by Janet Koplos Marea Gazzard: Utopia Art Sydney by Christopher Hodges and Brett Stone Collage, Montage, and Perception: Unveiling Postcolonial Aesthetics of the Female Body in Printed Ceramics by Nandini Chandavarkar Interrogating the African Electoral System: A Narrative in Conceptual Ceramics by Okewu Ebute Jonathan Clay Houses by Craig Hinshaw Fresh New Talent at the British Ceramics Biennial by Clare Wood Playing with Fire. CLAY Museum of Ceramic Art Denmark by Sanne Flyvbjerg Wang Xianfeng: Innovating Jun Ware by Zhu Yalei Listening to Clay: Conversations with Contemporary Japanese Ceramic Artists by Alice North, Halsey North, and Louise Allison Cort review by Janet Koplos A Journey Painted in Clay: A Book in the Making by Agalis Manessi Early Porcelain making in Victoria, Australia by Gregory Hill Eiji Uematsu at Alison Bradley Projects, New York City by Janet Koplos Saggar Firing in an Electric Kiln by Jolanda van de Grint The Ceramics of Nsentip Udom by Martins N. Okoro and Rita-Doris Ubah Toshiko Takaezu: Shaping Abstraction. Museum of Fine Arts, Boston September 30, 2023 – September 29, 2024 by Matthew Kangas Redefining Beauty: The Art and Ethos of Fractured Ceramics by Leman Kalay How Illustrations on Porcelain Helped Raise Children in Ancient China by Na Wei and Chuanlan Liu My Grandfather’s Marbles by Lisa Floryshak The Non-dualistic Beauty of Hun Chung Lee by Bang, Chang Hyun Romancing the Stone by Penny Smith TECHNICAL Q&A: Coasting Cones by Jeff Zamek Q&A: Mold Growth in Clay by Jeff Zamek Bone China: Revisited and Reformulated by John Shirley The Utilization of Rare Earth Elements as Colorants in Transparent Ceramic Glazes as an Innovative Approach by Selvin YEŞİLAY Cover image: Andrea Leigh, Lone Voice, white earthenware clay Image credit: Catherine Dineley