Keramik og glaskunst (kunstværker)

Ceramics in America 2024 continues to publish new research on ceramics made, used, or collected in America. Articles in this issue include several on Thomas Commeraw, the free Black potter working in New York from about 1797 to 1819; a newly-discovered French porcelain figure that belonged to George Washington that descended in an African American family; new discoveries about porcelain figures of characters from Uncle Tom's Cabin; the long history of face vessels in America; how a baby squirrel inspired a collection of tin-glazed earthenware.

Temaet er indretning, du inviteres derfor indenfor på studios og værksteder hvor det vi indretter os i og med, tager form. Du introduceres til glaspuster Alexander Kirkeby, som få år efter han har afsluttet sin uddannelse er etableret på den internationale designscene, til den ligeledes nyuddannede keramiker Heidi Lillevang, som eksperimenterer med stuk og til stukkatør Peter Funder, som har 35 års erfaring i branchen. Arkitekt Desislava Lynge udtaler i artiklen ”I fællesskab”, ”det kan være magisk både at bo minimalistisk og kaotisk eller med bøger og kunst fra gulv til loft, bare indretningen spejler beboerne” hun tilføjer, at hvis hun skal pege på noget, så er lysindfaldet det vigtigste bortset fra livet i husene. Lys er også omdrejningspunktet for belysningsdesigner Fie Paarup, som har stor succes med sine unikke gardiner syet af vintage- og overskudstekstiler. Med hende har jeg talt om både gardiner og livet i huset. Tekstil er også det naturlige materialevalg for Sia Hurtigkarl og Tanja Kirst, på hver sin måde, fra hvert sit udgangspunkt og i helt forskellige udtryk, er de begge optaget af det vævede tæppe som medie. Bookazinet har, samtidig med at det handler om rum, møbler, gardiner og tæpper, stuk, keramik og glas, insisteret på et eget parallelt spor som handler om hvordan vi dannes, omgås og taler om os selv og hinanden og det vi beskæftiger os med.Du inviteres med til Öland til en helt særlig skole. Skolen blev etableret af Carl Malmsten og dennes hustru Siv Malmsten i 1957. På skolen undervises nu, som den gang i keramik, tekstil, træ og havekunst, og for at blive ved Malmsten, har jeg haft inspirerende samtaler med professor Andreas Nobel. Han er er møbelsnedker og formgiver og underviser på Sveriges fineste møbelsnedkeruddannelse på Malmstens i Stockholm (en campus under Linköping Universitet). Andreas Nobel argumenterer: ”Man undervurderer et hvert fagområde, når man tilgår alle felter på samme måde frem for at anerkende, at det kræver mange års træning at kunne sit fag.For eksempel kræver det en livslang gerning at opnå et højt niveau i filosofi.På samme måde kræves års arbejde for at opnå et højt niveau i håndværk, design eller kunst”.Han stiller sig tvivlende overfor om man i samme liv kan opnå så tilstrækkeligt højt niveau på begge felter, til at filosoffen kan tilføre noget til kunst og design og vice versa. Ikke desto mindre ser man mange akademiske faggrupper udtale sig med vægt om både kunst, design og håndværk.”Hører og læser man den slags skal man vide at det ikke er det faglige forfatteren forholder sig til men filosofien”, argumenterer han. For filosoffen er kunsten et filosofisk problem, for kunstneren er kunsten en mulighed. Designeren og håndværkeren søger løsninger”. Foruden ovenstående mødes du i bookazinet blandt andre af keramiker Louise Gaarmann, guldsmed Sarah Hurtigkarl og arkitekt Erik Brandt Dam

This HÅNDVÆRK bookazine no. 9 has interiors as its theme and invites you inside the studios and workshops where the things in our homes take shape. In the bookazine, you will meet glassblower Alexander Kirkeby, who graduated just a few years ago and has already made a name for himself in the international design scene. You will also meet another recent graduate, ceramic artist Heidi Lillevang, who experiments with stucco, and stucco worker Peter Funder, who has 35 years’ experience. In the bookazine, in the article titled ‘In collaboration’, architect Desislava Lynge says, ‘An interior can be magical, whether it is minimalist or chaotic or has books and art from floor to ceiling, as long as it reflects the people who live there.’ She adds that if she were to point to a single key feature, apart from the life inside a house, it would be the influx of daylight. Light is also a key topic for lighting designer Fie Paarup, who has launched a successful production of unique curtains sewn from vintage and surplus textiles. I met with her to talk about curtains and the life inside a house. Textile is also the natural choice of material for Sia Hurtigkarl and Tanja Kirst. Each in their way, from their respective points of view and with very different expressions, they both work with woven rugs as their medium. In addition to rooms, furniture, curtains and rugs, stucco, ceramics and glass, the upcoming issue of the bookazine maintains a parallel focus on how we become who we are and how we engage with and speak about ourselves, each other and our practices. You are invited to join me on a trip to Öland to visit a very special school founded in 1957 by Carl Malmsten and his wife, Siv Malmsten. Now, as then, the school teaches ceramics, textile, wood and landscape architecture. I had some inspiring talks with Professor Andreas Nobel about Carl Malmsten. Nobel, who is a cabinetmaker and designer, teaches in Sweden’s finest cabinetmaker’s programme at Malmstens in Stockholm (a campus at Linköping University). Andreas Nobel says, ‘You will underestimate any subject area if you approach every field in the same way and if you fail to acknowledge that mastering a given field takes many years of training. For example, it takes lifelong practice to attain a high-level mastery of philosophy. Similarly, it takes many years of practice to attain a high-level mastery of craft, design or art.’He questions whether it is possible in a single lifetime to attain a sufficient grasp of both areas to have philosophy inform art or design, and vice versa. And yet, it is common to see scholars from a wide range of academic fields speak with great authority about art, design and crafts.‘When you hear and read these comments, you need to bear in mind that what they are addressing is not the subject matter itself but the philosophy of it,’ he argues. ‘To a philosopher, art is a philosophical problem; to the artist, art is a possibility, while designers and craftspersons look for solutions.’ In the bookazine, you will also meet ceramicist Louise Gaarmann, golds applied artist Sarah Hurtigkarl and architect Erik Brandt Dam, among others.

Outgrowth of the author's thesis (doctoral)--Yale University, 2017, under the title: Complex sensations of divine music in archaic and classical Greek art.

"This extraordinary collection, assembled carefully over fifty years, features an exceptionally wide array of Asian blue and white porcelain - that most ubiquitous and influential of all ceramics. Ranging from Chinese pieces specially made for Portuguese traders in the 16th century to late 19th century commissions for the Thai royal court, the collection also includes numerous Chinese classics from the era of the European trading companies and a notable selection of Japanese export porcelain. In its vast scope it speaks of the diverse impulses and historical forces that propelled the trade in Asian porcelain and provides a lens through which to view the interaction of East and West from the early modern age to the dawn of the 20th century. More than 300 pieces from the collection are illustrated and discussed in full and another 250 are illustrated in a compendium, all divided into thematic chapters that reflect the many ways Chinese and Japanese porcelain has been traded, collected and lived with around the world. Essays by William R. Sargent, former Curator of Asian Export Art at the Peabody Essex Museum, and noted armorial porcelain authority Angela Howard, precede the thirteen chapters, which include Faith, Identity, For the Table, To European Design and Made in Japan. Great rarities are featured alongside small, amusing pieces and the many export porcelains made to elevate the practices of daily life. With its strict adherence to blue and white porcelain, the collection intensifies our focus on forms, patterns and designs, gathering together wares that are often considered only separately for study while also covering areas of little recent scholarship, such as the Thai market material. The specialized reader will find references to the latest research while the more general reader will appreciate a comprehensive overview of Asian export porcelain. There has not been a significant survey of either Chinese or Japanese blue and white since the 1990s, and they have never been considered together in a major publication"--

My Body is a Battlefield offers a comprehensive insight into the work of the Ukrainian artist Maria Kulikovska, born in Crimea in 1988. Already in her early works she deals with patriarchal structures and the absence of female subjectivity in Ukrainian art. With the annexation of Crimea and the ensuing war, questions of identity and belonging and the themes of border and violence become leitmotifs of her artistic practice. Kulikovska's sculptures are exact copies of her body or individual body parts. Made of unusual materials such as ballistic soap, grease, or epoxy resin, the casts are subject to processes of aging and decay, are modified, transformed, and deconstructed. In her watercolors and drawings, created as series, for example on medical reports and authority forms, she designs bodies that resist the markings and boundaries of the paper as much as the bureaucratic constraints and gender fixations formulated there. Her ceramics-molds of severed limbs and replicas of bodily fluids-are forms of rage and despair in the face of the brutality and horrors of war.Kulikovska shows her body as a site of conflicting emotions and traumatic memories, as a contested arena of ideological attributions and warlike aggression; she asserts herself, drastically and dramatically, against gender and sexual norming, against violence and subjugation.The illustrated book was published on the occasion of the exhibition of the same name at the Francisco Carolinum in Linz, the artist's first solo exhibition in the German-speaking world.

The Frenchman Claude Champy (*1944) brings together man and the cosmos in his ceramics. In his studio, mechanical, geological, and chemical processes fuse to form a ceramic total work of art-guided by the barely visible yet influential human gesture. Despite the ceramicist wishing to capture the great forces of the universe in his work, he consciously consigns this part to trial and error, to an intentional loss of control, relying instead on the inherent logic of the material and fire. In Stardust Champy permits insights into his studio practice, his more recent artworks, and his work philosophy by providing commentary on his own sculptures and having them contextualized by experts. What results is a personal book on a unique artist, a retrospective on an oeuvre that is as powerful as it is elemental.

In 1924, five young Italians founded the Studio Ars et Labor Industrie Riunite (SALIR) with the aim of modernizing the ancient art of glass-decorating: Giuseppe D'Alpaos, Decio Toso, Guglielmo Barbini, Dino Martens, and Gino Francesconi. In 1928, the emergence of Franz Pelzel, a Bohemian glass engraver, and Guido Balsamo Stella, an all-round artist, marked the start of the production for which SALIR is most remembered today: contemporary glass-engraving. After Balsamo Stella's departure in 1932, Franz Pelzel took the lead role of designer, occasionally also executing designs by other reputed artists. Based on the factory's archives, Marc Heiremans illustrates the artistic evolution of SALIR through numerous drawings and period photographs. As well as being a catalogue raisonné, it is also an in-depth study shedding light on paramount developments in Murano's glass-making history.

The catalogue Tunnel presents works from 2018 to 2023 by ceramicist Johannes Nagel (*1979). The majority of the objectswere formed by the artist's hands digging into sand to form cavities, negative spaces, which were then molded and revealedusing liquid porcelain. By doing this, says co-author Esther Niebel, the artist imprints his own presence in to the objects. In addition to the extraordinary shapes thus created, expressive colors and the painting of the objects play a central role in Nagel'swork. Accompanied by essays, the excavated and cast pieces are presented in full-page photographs in a staccato portrayal ofobjects and ideas.