Podcast Articles
It was back in March that, seemingly on the same day, I got three bits of news; George Ohr had pots at the MoMA, Svend Bayer had announced his retirement, and Daniel Johnston had just had a book published about him.
Although Joe Pintz’s pottery does not resemble any historical or cultural style, it draws on his experience as the child of German immigrants, particularly in regard to traditions and the centrality of food − cooking, preserving, serving, consuming. His forms are generalized and simplified, hefty in the palpability of their planes but as soft as memories in their misty colors.
Imagine in 10,000 years time, as the polar caps begin to refreeze, a piece of your work emerges from the receding waters. Perhaps, as in the past, the resilience of ceramics will make it the dominant medium representing today’s material culture; our giant steel and concrete structures long since corroded into an abyss of shattered glass and shredded plastic. If humans still exist what will they make of your work? Or if some other life form, perhaps more intelligent than ours, has inherited the earth what questions would they ask; and, if you were able, how would you answer them?
At a time of rowdy marches, outraged protests and growing awareness of systemic racism within the United States, artists are increasingly being recognized as anticipating many of these themes: anger at inequities, not to mention violence perpetrated against citizens of color and violent and non-violent demonstrators
The master I returned to more than any other, the one who seemed to have merged art and life into something I envisioned for myself, was Phil Rogers
Griffith focused on the arresting retinal and graphic nature of universally recognized warning signs as well as in their interesting symbolic commonality amidst diversity.
