American Craft 2009 10-11, page 37 read online

Irish/collection of Elizabeth E. Yohlin, Ameson/ courtesy of George Adams Gallery and Brian Gross Fine Art, Saxe/courtesy o f F rank Lloyd Gallery, Woodman/courtesy of Max Protech Gallery.

1900, are mediocre pieces by George Ohr,

perhaps the first ceramist to value and pre-

serve through firing those graceful, organi-

cally goofy curves and loops that just happen

when you work with clay. Ohr’s iconic ves-

sels do not stand out among nearby pieces

by artists of subsequent generations, but

the grouping encourages consideration on

a phenomenological level and suggests af-

finities that transcend time.

Several artists, like Arlene Shechet in

Good Ghost

and

L O L L ,

both 2008, and, from

an earlier generation, Viola Frey, in expres-

sive pieces like

M a n in the M oon ,

ca. 1976,

present works that are pinched, scrunched

and squeezed: heavily manipulated and de-

liberately coarse. Not to neglect contrary

impulses, other works are ultra precise

(even obsessive): Ron Nagle shows small

minimal shapes w ith painterly layered,

overglazed surfaces; Ken Price’s hefty

elegantly twining but inescapably fecal

Z y k o ,

2008, shares its perfectionism with

Adrian Saxe’s w itty molded paste shrimp

with a tiny gold crown, 1985.

The influence of the 18th century, afruit-

ful moment for clay, is underplayed but

evident. Jane Irish’s cast vases ornamented

with contemporary vignettes were inspired

by Spode. They were originally made to

be parts of large installations. Jeffrey Mitch-

ell’s resonant multipart structures, like the

blue and white

Some A spects o f Landscape,

>993, have obvious chinoiserie roots.

There are infinite ways to understand

and to approach any material, especially

one, like clay, with an ancient cultural heri-

tage. The virtue of “ D irt on Delight” lies

in a range of possibilities that is not tied to

date, style or theme. Art-making skills are

learned and deliberately deployed but, like

handwriting, manifest themselves as per-

sonal and unique. Undoubtedly, the action

of individual predilections, abilities and

the unconscious on the production of all art

is a given. It is delightful to see it so well

illustrated here.

T he author a n d co-author o f several hooks,

R obin R ice is an adjunct associate professor

a t the U niversity o f the A rts, where she has

taught craft history.

The exhibition is at the Walker A rt Center,

Minneapolis, Minnesota, July n - Novem-

ber 29,2009. The softcover catalog is $35,

icaphila.org and shop.walkerart.org.

Opposite top:

Installation view of

“Dirt on Delight.”

Opposite bottom:

Beverly Semmes

Sh innecock P ot # 9 ,

2002,

clay and paint {h. 20 in,

w. 15 in,d. ціп}.

Right top:

Jane Irish

V a se, V ito A cco n ci,

1995,

low-fire white ware,

luster, china paint

{h. 12 in, w. 11 in,

d. 11 in}.

Right:

Robert Ameson

M a q u ette fo r C hem o

1978, glazed porce-

lain {h. 12 in, w. 3 in,

d. 3 in}.

Far right:

Adrian Saxe

U n title d T h eiere

( C re v ette),

1985,

pate tender {h. 12У4 in,

SVa

in}.

Below:

Betty Woodman

T w o -P a rt Ita lia n Vase,

ca. 1983, glazed earthen-

ware {h. 14 in, w. 29

in,

d. 5 in}-

The subtitle o f tide show is borne out fit rough

objects fhat consistently display a prim al delight

in the innate qualities o f clay.

oct/novo9 american craft 035