Ceramic Arts Commons^™

Breaking Wind, Todd William Pentico

Graduate Theses and Dissertations

Breaking Wind is a research project and thesis exhibition composed of a series of ceramic objects in conjunction with paintings that explore the systems that dictate belief, the motives that drive curiosity, and biological connection to our surroundings. The work uses the context of the gallery and devices used in museums such as plinths, shelves, and wall text to reinforce the idealized and fictive into something believable.

In the work, Breaking Wind refers to a clumsy breakdown and rethinking of the seemingly simple natural phenomenon, wind. Wind is understood as a natural occurrence that has no origin or any innate …

2015 Forces, Scott Yarbrough

Forces

No abstract provided.

Minnie Adkins: Against The Grain, Minnie Adkins, Kentucky Folk Art Center

Kentucky Folk Art Center Exhibition Catalogs

2015 Kentucky Folk Art Center exhibition catalog of artist Minnie Adkins.

Land Of Enchantment: New Mexico As Cultural Crossroads, Jonathan Frederick Walz

Sheldon Museum of Art: Catalogs and Publications

This exhibition foregrounds Sheldon Museum of Art’s collecting strength in fine and decorative arts with connections to New Mexico, and, more broadly, to the desert Southwest. For thousands of years this corner of the United States, situated on the north-south trade route between Colorado and Mexico and at the western edge of the Great Plains, has hosted human habitations, each with its own distinctive material culture. The area’s diverse topography and population have inspired countless visual responses, from petroglyphs to photographs. The state’s relative isolation—at least before the mid-twentieth century—provided a backdrop upon which the movement of goods, practices, ideas, …

Visual Phallacies, John Howard Cummings

Electronic Theses and Dissertations

Roland Barthes wrote that only after removing all of the author's intentions and traces can a work of art truly be perceived by viewers fairly (Barthes). A viewer's perception of the world is influenced by his or her individual subjective history, which is the product of his or her own experiences. But as the author of ceramic work, my influence is ever-present. Clay records every push, pull, spank, squeeze, and poke. It fully records its physical history and as well as my actions upon it. This thesis exhibition asks the question: Can a viewer de-contextualize familiar-but-contentious subject matter and be …

Passing Time, Bryan Horn

Electronic Theses and Dissertations

In today’s fast paced world based around expedience and convenience, we often find ourselves lost in the hustle and bustle of daily life. While keeping up with our busy schedules it is hard to find those moments of pause in which we can regain our composure. The ceramic vessels in Passing Time are about those moments in between, like the space between musical notes they are essential to our understanding and being. This body of work represents the building and maintaining of relationships, the welcoming space of home and establishing invitation through the act of giving and sharing. I use …

History In The Hand Through Functional Ceramics, Katherine E. Stephens

Senior Independent Study Theses

No abstract provided.

Landscape Of Consciousness, Julia R. Baugh

Theses and Dissertations

In my ceramic work, characteristics of magnified microbes, undulations of texture, and gouged shapes recur and appear to blend with inner human anatomy, woodland forms, underwater landscapes and decomposed life. Some of these influences are linked to my childhood. Other experiences come from my career in the respiratory care field and in my international travels. Like any artist, my life experiences, as much as the clay itself, are the materials of my art. My work holds some familiar concept, feeling, or recollection in a figurative piece or vessel. The decorative choices I make form a tight mesh that weaves together …

Sugar Bowl, Risd Museum, Caroline Frank

Channel

ca. 1800

Saucer, Risd Museum, Andrew Raftery

Channel

ca. 1840

2014 Forces, Scott Yarbrough

Forces

No abstract provided.

Techno File: Pyrometric Cones, Tina M. Gebhart

Art and Art History Faculty Publications

A pyrometer measures temperature, but pyrometric cones measure heatwork. What is a cone, how does it work, and what does any of this have to do with synchronized swimmers? [excerpt]

Rethinking Levanna Ceramics: A Tenth Century Short Term Occupation Site In Central New York, Christina T. Rogers

Electronic Theses and Dissertations

The analysis of ceramics located inside of a proto-longhouse at Levanna, an early 10th century site overlooking Cayuga Lake in Central New York have found the established typologies of the area to be less rigid and contain much more variability than would be expected. Levanna appears to be a short-term occupation site (ca. 30 years) containing a variety of ceramics. In past studies Levanna had been deemed an "Owasco" era (900-1400 A.D.) site by early and some recent archaeologists, yet the analysis of features and ceramics found during the 2008 and 2009 excavations help deconstruct the idea or concept of …

Chester Cornett: Beyond The Narrow Sky, Chester Cornett, Kentucky Folk Art Center

Kentucky Folk Art Center Exhibition Catalogs

2014 Kentucky Folk Art Center exhibition catalog of artist Chester Cornett.

Sju Pottery Kiln Firing, Michael Hemesath

Administration Publications

No abstract provided.

The Teacher In The Studio, Molly Alexander

Graduate Student Independent Studies

As a potter and teacher, the author connected her practice in the studio to her practice in the classroom by designing and creating cups for the two-year-old children she teaches. This thesis includes visual documentation of the author's design and production process, an analysis of theory and research, and a personal reflection.

Tethered, Samantha Jean Dixon

Graduate Theses and Dissertations

Tethered addresses the innate fear of forgetting where an individual's family originates, both physically and historically. Not long after discovering that part of my family was almost completely annihilated during the Holocaust, I produced Tethered as visual documentation of the long-term effects of families of survivors. The exhibition is also influenced by my grandmother's experiences as a Mauthausen concentration camp survivor and my own experiences being raised by a survivor.

The knowledge of the imminent loss of memory initiates an instinct to repetitively record and remember personal history. Numerous memories have been forcefully buried in the darkest recesses of the …

2013 Forces, Scott Yarbrough

Forces

No abstract provided.

Body As A Vessel, Matt Chenoweth

Department of Art and Design

No abstract provided.

Clay Culture: A Burning Question, Wesley L. Smith

Art & Design Faculty Publications

No abstract provided.

David Lucas, David Lucas, Kentucky Folk Art Center

Kentucky Folk Art Center Exhibition Catalogs

2013 Kentucky Folk Art Center exhibition catalog for artist David Lucas.

Offerings, Norma Acord

Electronic Theses and Dissertations

As people we learn through observation. I observed at a young age the importance of using food as a means of celebration, gatherings, and comfort. At a young age, I saw that roles were given to the family members: my grandmother and mother were accepting of their roles as providers of food and my grandfather and father accepted their roles as providing through work. I made a conscious decision about the role I wanted to play. The role of providing through food and serving was more appealing to me. I have a lot of the same views on domesticity as …

Memory Scapes, Michael Lee Mccarty

Electronic Theses and Dissertations

Through use, pots can become an intimate part of daily ritual, special celebrations, or moments of stillness. Not only can they can act as vehicles that connect the user to the greater meanings of life, but they do so "under the radar," below conscious awareness. They perform their task, waiting to be noticed and enrich their user's life. I make pots in an attempt to connect to others through quiet, useful forms with beautiful, subdued surfaces. Part of my goal in making pots is to elevate moments of daily life, to augment the time spent consuming coffee, eating, or having …

Rediscovering The Wheel, Brooke Hodge, Risd Xyz

RISD XYZ Fall/Winter 2013: Out of Bounds

What does architecture have to do with pottery? For Adam Silverman BArch 88, these two seemingly disparate creative practices are inextricably intertwined.

Brooke Hodge, director of exhibitions and publications at the Hammer Museum in Los Angeles, writes frequently about architecture and design for major publications. This text is excerpted from a longer essay in the new book Adam Silverman Ceramics, published this fall by Skira/Rizzoli.

2012 Forces, Scott Yarbrough

Forces

No abstract provided.

Linvel Barker: Works From The Collection Of Rita Biesiot, Linvel Barker, Rita Biesiot, Kentucky Folk Art Center

Kentucky Folk Art Center Exhibition Catalogs

2012 Kentucky Folk Art Center exhibition catalog of artist Linvel Barker.

2 X 20: Works By 20 Of Kentucky's Finest Working Folk Artists, Minnie Adkins, Barbara Burton, Jo Ann Butts, Brent Collinsworth, Joan Dance, Tad Desanto, Marvin Francis, Tim Lewis, Jance Miller, Lonnie Money, Twyla Money, Robert Morgan, Bruce New, Janice Harding Owens, Jim Gary Phillips, Thaddeus Pinkney, Monica Pipia, Willie Rascoe, Eileen Stockham, Donny Tolson, Lavon Van Williams, Kentucky Folk Art Center

Kentucky Folk Art Center Exhibition Catalogs

2012 Kentucky Folk Art Center exhibition catalog of the twenty finest working folk artists.

Technofile: Viscosity, Tina M. Gebhart

Art and Art History Faculty Publications

The article focuses on the effect the viscosity of a glaze or slip has on a piece of pottery. The article explains the term and provides tests that can be performed to determine the viscosity of a substance. It goes on to describe how one can manipulate the viscosity of a glaze or slip through the addition of water or other aids and includes step-by-step instructions for making a slip.

Techno File: Glaze Unity Formula, Tina M. Gebhart

Art and Art History Faculty Publications

There are many approaches to modifying a glaze recipe, and different approaches can meet different needs. Some modifications change the colorant level while others change the colorant type altogether. Some may directly replace one material with another add a few weight unit more (or less) of one of the base ingredients in the recipe, or add an amount of an entirely new ingredient. These strategies we use to alter glazes tent to parallel how we cook and modify recipes in the kitchen, but adjustments to the base glaze using the kitchen method do not always give us the results we …

2011 Forces, Scott Yarbrough

Forces

No abstract provided.