Ceramics Art + Perception #117


  • Seeking Sustainability by Brian Benfer
  • Heidi Bjørgan by Frances McDonald
  • Roberta Griffith: Street Stuff by Farraday Newsome
  • Contemporary Exploration of Ceramics in Nigeria: Ngozi Omeje's Connecting Deep Exhibition at the Centre for Contemporary Art, Lagos by Chijioke Onuora, Iheanyi Onwuegbucha, Nneka Odoh and George Odoh
  • Clay as Terracotta Sculpture: A Provocative and Divergent Contemporary Conceptual Approach by Léopold L. Foulem
  • One Idea, Six Movements: Ozioma Onuzulike's Suyascape Series by Chijioke Onuora, George Odoh and Eva Obodo
  • Taxoo Lee: Reborn Connecting the Present With the Trivial Things of the Past by Jisu Hong
  • Sandcastles in the Sky: An Adventure With Ceramic Maker Anna Barlow by Paul Bailey
  • Theaster Gates Black Vessel @ Gagosian Chelsea, New York by Janet Koplos
  • Phil Rogers Eulogy by Mike Goldmark
  • Phil Rogers Obituary by Josh Mansfield
  • An International Woodfiring Exchange by Dick Lehman
  • The Craft and Customs of the Li Potters of Hainan by Zhang Hongxia
  • The Forgotten One: Furnace Transmutation by Chen Yongqun
  • Silent Defiance: Ceramic Scultpure by Paul Metivier by Matthew Kangas

  • The Light Still Shines Bright by Shi Di and Deng Rong
  • Special Antique English Ceramics Exhibition: Displayed at Community Archives, Upson County, Georgia, US by Lewis Hale
  • Book Review: Daniel Johnston: A Portrait of the Artist as a Potter in North Carolina by Henry Glassie Review by Bryce Brisco
  • Joe Pintz: The Old Way by Janet Koplos
  • Book Review: Hare's Fur by Trevor Shearston Review by Peter Wilson
  • Inspired to Write by Sebastian Blackie
  • Multiple Modernisms: A Perspective on Contemporary Asian Globalism by Ray Chen



  • Deep Ornament: Eliza Au and the Pursuit of Serenity by Amy Gogarty
  • Q&A: Clay Body Absorption by Jeff Zamek
  • Potter's Reduction Diagrams by Howard T Sawhill
  • Cobalt on Trial by Jeff Zamek
  • Protoclay: A Potter's Inquiry into Fired Granite by Bob Kavanagh
  • Decorating Pottery and Sculpture Without a Glaze by Jayne Shatz

Cover image: Theaster Gates, Brick Reliquary - Tea Compression of Rectangle with Melted Bowl, 2020 Stoneware tea bowl, kiln post, refractory clay, wood fired brick, wood ash, magnesium dioxide, black stain and alumina carbide shelf. 18 x 22 x 9 in (45.7 x 55.9 x 22.9 cm)
Artwork © Theaster Gates.
Photo: Rob McKeever. Courtesy Gagosian.