Funk embraces paradox. It subverts by elevating community over individuality.
What makes the work of Kuwata Takuro exciting is its care and concentration, and at the same time ebullience. The chromatic brilliance of these objects demands attention and creates an aura of attraction.
Janet Koplos reviews an exhibition by Kuwata Takuro
Bergins’ eye finds fault in much of the present-day environment. He presents his nude figure looking upon a world panorama from an enormous amphora.
Lijana Natalevičienė discusses the work of Juris Burgins
Beyond the pleasure I experienced in seeing the exhibition realized, there have been lessons learned about Mexican ceramics, ceramics in the United States, and the relationship between the two.
Rob Silberman curates contemporary Mexican ceramics.
These accounts expose a man conflicted. Hewitt refers to this as a form of “sublime arrogance” with Bayer believing his pots are so powerful that they transcend the maker, and his signature only serving as a burden on function.
Boxers (2013) compels a critical response to the contemporary fashion trend among youths referred to as ‘sagging’, which allows the trousers or shorts to hang loosely round the buttocks, or below them.
Eva Obodo, Chijioke Onuora and George Odoh
In a still life painting nothing moves; here, a series of carefully crafted and curated objects have also been stilled. But as you move around before the work, reflections morph, highlights fade or shine, shadows re-position or disappear completely.
Patsy Hely on the work f Kelly Austin
There is a point where we are at a quandary as to whether we made the image or the image made us.
Richard Hirsch in conversation with Scott Meyer
This creator is the shape-shifter, a magical entity gathering together disparate elements, all annealed and fused in the ritualistic purification of the fiery kiln.
Matthew Kangas on Koren Christofides,
… and much much more. 160 pages of critical, creative and technical writing on contemporary ceramic art from around the world.
Cover image: Tea bowl, 2017, porcelain, glaze, pigment, gold, steel, ht: 39 x 42.7 x 42.5 cm.
Image credit: Keizo Kioku, courtesy of Kosaku Kanechika.