By Suzanne Foley
Catalog of an exhibition of an identical identify held on the Whitney Museum of yank artwork, Dec. nine, 1981-Feb. 7, 1982, and hence on the San Francisco Museum of contemporary artwork. Works by way of Peter Voulkos, John Mason, Kenneth expense, Robert Arneson, David Gilhooly, and Richard Shaw
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(This name was once initially released in 1978/79. )
Impressionism is a 19th-century artwork circulate that originated with a bunch of Paris-based artists. Their self sustaining exhibitions introduced them to prominence throughout the 1870s and Eighteen Eighties, even with harsh competition from the traditional paintings neighborhood in France. The identify of the fashion derives from the name of a Claude Monet paintings, effect, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the time period in a satirical overview released within the Parisian newspaper Le Charivari.
Quantity IIIPrefaceFurniture and Gilt Bronze, persevered from quantity IIMenuiserieBoiserieÉbénisterieGilt BronzeGold BoxesVolume IVPrefaceMeissen PorcelainIntroductionBird SculpturesOrnamentsTablewareSévres and different French Porcelain
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The conscience suggested by the title indicates the inner sense of right and wrong, while the word consciousness points to the state of being aware of one’s own existence that is perhaps heightened during the destruction of the work. Yet this is no senseless destruction, instead the work seems more redolent of a sense of individual human enquiry as the foot and weight of the body is shifted onto the delicate china tile. The effect of so many feet ground the tiles to dust, a material subsequently used by Twomey, which is possessed of strong associations with ephemerality, memory and loss.
Issue 17, Autumn 2009 Moore, Gregg. 5. , Issue 17, Autumn 2009 2 Thing/Thought: Fluxus Editions 1962-1978, MOMA New York, 21 September 2011 – 16 January 2012 3 Give & Take, Serpentine Gallery, London, and Victoria and Albert Museum, London, 30 January – 1 April 2001 42 4 Chapter Two Neil Cummings interviewed by Janet A. Kaplan, ‘Give & Take Conversations’, Art Journal, Summer 2002, p. 75 5 Dropping the Urn: Ceramic Works, 5000 BCE – 2010 CE, Victoria and Albert Museum London, 15 October 2011 – 18 March 2012 6 Gregg Moore and Richard Torchia, ‘Doing ceramics’, Ai Weiwei: Dropping the Urn; Ceramic Works, 5000 BCE – 2010 CE, Arcadia University Art Gallery, Pennsylvania, 2010, p.
That could not happen to the objects kept in trust for the public by the V&A. By bringing traces of overt destruction into the museum space, the museum reawakens not only the value we place on the objects in the museum but also our awareness of the museum’s unique role in preserving them. It presents us with the possibility of the alternative. Finally, let us turn to a project in which the museum in question apparently did do the unthinkable – offer up the objects in its collection to an artist, for potential destruction.