Still Life
Susanne Luthi

    טבע דומם
 

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"While pottery is rich in both form and content, the subject of a utilitarian vessel can only be understood as its function…

Consequently, for pottery to acquire a subject there must be, to a degree which is physically manifested in the work, a sacrifice of function that carries the vessel towards the decorative or the conceptual"

(Anthony E Stellaccio)

Translation, Anthony E Stellaccio, Ceramics: Art and Perception No. 80, 2010 pp 107-109


"if, to cite a famous example, you take a teacup and line it entirely with animal fur — it has to be considered as a work of art, because there is nothing else left to consider it as".

(Dutton)


Denis Dutton, The Difference Between Art and Craft, http://www.denisdutton.com/rnz_craft.htm





Meret Oppenheim

Object (Le Déjeuner en fourrure)

1936 Museum of Modern Art




"Objects of art are intrinsically final: 

they appeal purely at the level of the imagination and no good practical utility, except the cultivation of the human spirit.”

(Immanuel Kant')



"Pottery is at once the simplest and the most difficult of arts. It is the simplest because it is the most elemental; it is the most difficult because it is the most abstract. Historically it is almost the first of the arts.
Pottery is pure art; it is art freed from any imitative intention. Sculpture, to which it is most nearly related, had from the first an imitative intention, and is to that extent less free for the expression of the will to form than pottery; pottery is plastic art in its most abstract essence."

(Herbert Read)


Sir Herbert Read, The Meaning of Art, London 1944,pp 32-33


“He who works with his hands is a laborer.
He who works with his hands and his head is a craftsman.
He who works with his hands and his head and his heart is an artist.” 

(Francic of Assisi)



"Essentially, to call something ‘craft’ is to indicate what it is not: not mass-produced, not institutionally designed and not available for mass consumption… If we assert that functionality is opposed to conceptualism, the equation therefore reads that craft is not conceptual…the superficial categorization of an object in either art or craft is nothing more that the artifact of the semantic association of traditional media to the history of functional objects."

(Bean Gilsdorf)

Stocks and Stones: Craft's identity battle with art and itself, Bean Gildersdorf, Surface Design Journal, 2010, pp 49-53




“Craft work is skilled work: any kind of craft must involve the application of a technique .”

 (Dutton)     


Denis Dutton, The Difference Between Art and Craft, http://www.denisdutton.com/rnz_craft.htm


"The potter is no longer a peasant or a journeyman as in the past, nor can he be longer described as an industrial worker. He is by force of circumstances an artist-craftsman…In the work of the potter-artist who throws his own pots, there is a unity of design, execution, cooperation of hand and undivided personality, for designer and craftsman are one… "

(Bernard Leach)

Bernard Leach, A Potter's Book, London 1940, pp1-2


"Peter Voulkos made Abstract Expressionist ceramic sculptures, which crossed the traditional divide between ceramic crafts and fine art.

He (Voulkos) took advantage of the change in perception of media and was lauded for turning pottery into art. “But, alas, he did not turn pottery into art. Nor did Voulkos invent abstract sculpture……..he helped to shatter a fossilized insiders’ notion of art by exploiting a previously heretical material (clay) to create abstract sculpture based upon pottery techniques. “

(Hluch,Kevin A)

Hluch, Kevin A, A New Art Movement , Ceramics Monthly, March 2003,vol. 51,Issue 3



"I'm not a standard bearer for ceramics" says Perry. "People say, 'Is the art world accepting ceramics?' I say, 'No, they're accepting Grayson Perry'."


"I'm an artist who just happens to make ceramics. I'm here for my ideas and images, not my pots. This is why I make ordinary pots.“

 (Grayson Perry)



 http://www.artnet.com/magazine/news/laplaca/laplaca1 -9-03.asp


http://www.artnet.com/magazine/reviews/laplaca/laplaca1-16-04.asp