Ceramics Art + Perception #122


  • To live is to Leave Traces: Anne Mette Hjortshøj by Sebastian Blackie
  • The Porcelain of Capodimonte by Giovanni Piesco
  • Courting Indigo by Jack Troy
  • Brick by Brick: A Brief History of Clay Bricks from Kansas, USA by Chris Garcia
  • Jane Yang-D’Haene at Bienvenu Steinberg & J, New York City by Janet Koplos
  • Marea Gazzard: Utopia Art Sydney by Christopher Hodges and Brett Stone
  • Collage, Montage, and Perception: Unveiling Postcolonial Aesthetics of the Female Body in Printed Ceramics by Nandini Chandavarkar
  • Interrogating the African Electoral System: A Narrative in Conceptual Ceramics by Okewu Ebute Jonathan
  • Clay Houses by Craig Hinshaw
  • Fresh New Talent at the British Ceramics Biennial by Clare Wood
  • Playing with Fire. CLAY Museum of Ceramic Art Denmark by Sanne Flyvbjerg
  • Wang Xianfeng: Innovating Jun Ware by Zhu Yalei
  • Listening to Clay: Conversations with Contemporary Japanese Ceramic Artists by Alice North, Halsey North, and Louise Allison Cort review by Janet Koplos
  • A Journey Painted in Clay: A Book in the Making by Agalis Manessi
  • Early Porcelain making in Victoria, Australia by Gregory Hill

  • Eiji Uematsu at Alison Bradley Projects, New York City by Janet Koplos
  • Saggar Firing in an Electric Kiln by Jolanda van de Grint
  • The Ceramics of Nsentip Udom by Martins N. Okoro and Rita-Doris Ubah
  • Toshiko Takaezu: Shaping Abstraction. Museum of Fine Arts, Boston September 30, 2023 – September 29, 2024 by Matthew Kangas
  • Redefining Beauty: The Art and Ethos of Fractured Ceramics by Leman Kalay
  • How Illustrations on Porcelain Helped Raise Children in Ancient China by Na Wei and Chuanlan Liu
  • My Grandfather's Marbles by Lisa Floryshak
  • The Non-dualistic Beauty of Hun Chung Lee by Bang, Chang Hyun
  • Romancing the Stone by Penny Smith



  • Q&A: Coasting Cones by Jeff Zamek
  • Q&A: Mold Growth in Clay by Jeff Zamek
  • Bone China: Revisited and Reformulated by John Shirley
  • The Utilization of Rare Earth Elements as Colorants in Transparent Ceramic Glazes as an Innovative Approach by Selvin YEŞİLAY

Cover image: Andrea Leigh, Lone Voice, white earthenware clay
Image credit: Catherine Dineley