Ceramics Art + Perception #115


  • Claire Partington: Tea and Post-colonial Retribution by Matthew Kangas
  • Joon Hee Kim: Who Am I? by Denis Longchamps
  • The Twelve Immortals of Flowers in Chinese Ceramics by Peng Shengfang
  • Work, Beauty, and the Human Spirit:
    The Legacy of Brother Thomas Bezanson by Andrew L Maske
  • Ian Morrison by Tim Saunders
  • Blanc de Chine: A Continuing Conversation by Frances McDonald
  • Book review What Makes a Potter: Functional Pottery in America Today by Janet Koplos by Owen Rye
  • Rooted in the Gut: Chris Gustin's Eloquent Vessels by Leigh Taylor Mickelson
  • Eva Kwong: Love Between the Atoms / Lifelines by Michael Jones
  • Ron Nagle: Getting to No at Matthew Marks Gallery, New York by Janet Koplos
  • A Kiln of One's Own: The Work of Kathy Kranias by Lera Kotsyuba
  • Takeshi Yasuda: Working in China by Sebastian Blackie
  • Dead Dad Book by Vicky Lindo
  • A Magic Spell or a Ceramic Bowl?
    The Sassanid Crescent of Islamic and Changsha Ceramics by Mohsen Jaafarnia, Avinash Shende, Sahar Boroomand and He Renke

  • Peter Beasecker: Clarity by Janet Koplos
  • Thirteen Ways of Looking at Fire by John Hughes
  • Material Traces of Past Performances:
    Reclaiming Authenticity in Contemporary Studio Pottery by Orly Nezer



  • Ceramic Art: The Kashi tiles of Sindh by Muhammad Hussnain Sethi and Lei Shen
  • Q&A: Glaze Pinholes by Jeff Zamek
  • Rong Jiang's Floriated Zisha Teapots by Chunhui Song, Rongrong Cui and Linlin Shen
  • Q&A: Traditional Techniques and Culture
    of Chinese Rongchang Pottery by Zhang Hongxia

Cover image: Takeshi Yasuda, Untitled, bowl, Qingbai glaze with gold.
Image courtesy of Goldmark Gallery