The issue number is given first, separated from the page numbers by a colon, thus: 2:22?5. Complete articles are separated by semicolons, thus: 2:22?5; 6:17?20. Within one article, non-continuous references to a person or subject are separated by commas, thus: 2:21, 23, 27.
A
Aboriginal people of Australia, ceramics by, 1:50–1; 6:21–4; 10:19–20; 11:77–8; 20:68–70; 51:33–40
abstract art, 60:62; 62:69–71; 62:75–7; 62:78–81
see also geometric/abstract art
Abstract Expressionism, 3:85–8; 5:36–41; 14:21; 17:8–11; 19:92; 20:8–9; 20:20; 21:16; 22:8–10; 25:4–5; 32:20; 36:56–7, 58:10–11; 61:21; 61:49–52
Africa, ceramics and ceramists, 25:87; 61:13
Africa (North), traditional ceramics, 1:73–4
Aftershock (1995), 23:93–5; 36:81
agate-ware, English, 46:46–51; 61:8–10
Albissola (Italy), 33:11
Aldermaston Pottery (UK), 11:86–9
Alfred Meakin Pottery (UK), 18:58
Alfred University (USA), 6:25, 28
All Hand Made Gallery (Sydney, Australia), 62:65–8
All Salt (1991), 9:69–72
Altered Traditions: Contemporary Clay Vessels (1994), 21:95–7
American Craft, 3:87–8
American Craft Council, 3:87–8
American Craft Museum, 3:87–8
American Museum of Ceramic Art (USA), 61:76–80
Amphora Gallery see Galerie Amphora
ancient art, influence on ceramics, 30:55–6; 30:62–3; 42:37–9; 42:40–1; 57:18–20; 60:59–61; 60:68-70
ancient ceramics, 39:24–5; 58:7–9
see also traditional ceramics
animals in ceramics, 53:33–5; 56:41–4; 56:93–5; 57:21–3; 58:34–7; 60:13–15; 60:41–6; 61:66–9; 64:3–6; 64:62–3; 65:9–13; Puerto Rico, ceramic sculpture, 65: 31–3
Antarctica and ceramics, 54:30–4; 63:37–9
anti-traditionalism, 9:44–5
appropriation, 59:87
Arabia company (Finland), 34:32
Arabia Foundation (Finland), 25:62–6
Archie Bray Foundation for Ceramic Arts (USA), 54:35–7; 55:60; 56:12; 56:24, 26, 27; 56:62
architectural sculpture, 56:10–14
see also installations; sculpture
architecture
ceramics and, 23:19–25; 32:88–90; 34:51–4; 36:18–19, 38:54–6
craft and, 21:57–61
fired buildings, 64:37
influence of, 5:23–7; 5:62–3; 6:3; 18:86–9; 57:42–3
Argentina
ceramics and ceramists, 21:48; 48:29–32
ceramic sculpture, 30:102–3; 45:90–2
installations, 56:93–5; 60:71–4
Ariana Museum (Switzerland), 15:94–6; 20:92–3
Arid landscape – hidden beauty (2001), 48:82–4
Around the Corner (1997), 34:34–6
art
criticism, 59:103; 61:100–5
experience of, 62:28–32
nature of, 4:84–8; 5:88–9; 6:62; 34:86–90; 57:100
purpose of, 2:81; 5:88
art/craft debate, 1:8; 4:3–4; 4:89; 4:84–8; 5:3–8; 5:90–2; 6:28; 7:69–72; 9:31.
13:48, 52; 14:51; 17:75–6.
32:20–1; 33:14; 35:53–4; 36:12–14; 36:16–17; 36:52–3; 38:74–5; 36:64–5, 67–8; 37:55–6.
47:75–9; 48:81.
64:103
attitudes to craft, 56:100–2; 57:52–7
art pottery, 47:82–9
Art Gallery of New South Wales, Asian Gallery (Australia), 1:62–3
Art Gallery of South Australia, 61:81
Arthur Merric Boyd Pottery (Australia), 7:19; 14:28–30
Art in the Subantarctic (1991–92), 4:24–8
Artisan Studio Ceramics (Australia), 3:52–4
Artistic Generations: Jacqueline Rice and Her Students (1992), 10:73–4
artists in residence, 61:58–9
Australia, 3:3–7; 19:74–5; 61:106; 63:47
Canada, 20:86–8
colleges, 13:87–9; 17:68–70
factories, 1:22–4; 2:76–81; 3:64; 4:21–3; 5:88; 8:16–18; 15:83–6; 39:17–18
Germany, 4:74–7
Lithuania, 64:54–8
museums, 4:4–5; 16:91–2
Norway, 13:89–91
UK, 62:18–19
USA, 1:12–14; 1:22–4; 5:59–61; 61:58–9
Artrage Festival (Australia), 11:64
Arts and Crafts Movement, 36:36–7; 47:89; 54:87–8; 61:77–8
Asahi Ceramic Art Exhibition (1990), 5:52–5
Ashton’s Gallery (Canada), 8:80–3
assemblages, 56:28–32; 56:64–7; 58:6; 58:11; 60:19–22; 63:9–12
see also installations and assemblaqes; multiples; repetition
Attitude: New Australian Ceramists (2002), 50:69–72
attitudes to craft, 57:52–7
Auckland Studio Potters, 13:75
Austceram 90 Conference, 3:69–71
Australia
Aboriginal people, ceramics by, 1:50–1; 6:21–4; 10:19–20; 11:77–8; 20:68–70; 51:33–40
awards for ceramics, 12:74–5; 24:92–4; 48:62–5; 49:98–9; 51:92–5; 54:85–6; 56:83–6; 61:81–3; 61:106
ceramic aesthetic/tradition, 38:100–2; 48:94–6; 50:80–2
ceramics and ceramists, 1:3–7; 1:15–19; 1:30–3; 1:41–3; 1:44–6; 1:50–1; 1:54–6; 1:76–7; 2:8–11; 2:35–9; 2:45; 2:46–7; 2:48–51; 2:52–5; 2:56–7; 2:60–1; 2:62–5; 2:66–8; 2:71–3; 2:86–9; 3:19–22; 3:41–3; 3:44–5; 3:47–8; 3:49–51; 3:52–4; 3:60–2; 3:69–71; 3:81–4; 4:49–51; 4:52–4; 4:55–7; 4:58–60; 4:65–7; 4:68–9; 4:71–3; 5:14–17; 5:23–7; 5:32–5; 5:42–4; 5:48–51, 5:56–8; 5:62–3; 5:68–9; 5:90–2; 6:14–15; 6:21–4; 7:18–20; 7:34–5; 7:50–4; 7:58–60; 7:61–2; 7:63; 7:85–7; 8:22–4; 8:60–2; 8:63; 8:68–71; 9:3–6; 9:13–18; 9:31–4; 9:41–2; 9:43–5; 9:67–8; 9:69–70; 9:73; 9:82–5.
10:19–21; 10:33–7; 10:39–42; 10:46–8; 10:59–60; 10:61–3; 11:16–18; 11:19–23; 11:39–42; 11:47–8; 12:12–17; 12:40–2; 12:66–8; 12:72–3; 12:74–5; 12:76–7; 12:90–1; 13:12–15; 13:25–8; 13:35–40; 13:53–4; 13:61–5; 13:78; 13:83–6; 14:28–32; 14:48–52; 14:65–6; 14:71–3; 14:82–4; 14:85; 15:47–9; 15:53–6; 15:57–9; 15:60–2; 15:77; 15:80–2; 16:7–11; 16:57–9; 16:66–9; 16:76–7; 16:78–9; 16:87–8; 16:89–90; 16:91–2; 17:12–14; 17:22–4; 17:43–4; 17:45–6; 17:68–70; 17:84–6; 17:87; 17:88–9; 17:90–2; 18:36–8; 18:42–5; 18:54–7; 18:93–4; 18:95–6; 18:97–8; 19:33–40; 19:64–5; 19:70–1, 19:74–5.
20:68–70; 20:72–4; 20:84–5; 20:96–7; 20:98–9; 21:69–71; 22:24–6; 22:91–2; 23:8–12; 23:39–41; 23:65–6; 23:93–5; 23:101–3; 24:7–12; 24:26–8; 24:68–71; 24:72–5; 24:76–7; 24:78–9; 24:85; 25:54–7; 25:62–6; 25:75–9; 25:80–2; 26:38–41; 26:42–5; 26:68–70; 26:74–5; 26:83–5; 27:39–40; 27:51–5; 27:66–70; 27:78–81; 27:97–8; 27:103; 28:24–8; 28:33–40; 28:41–3.
30:27–32; 30:46–8; 30:55–6; 30:58–61; 30:90–1; 31:24–8; 32:30–2; 32:50–1; 32:88–90; 33:62–5; 34:19–21; 34:22–4; 34:29–62; 36:10–14; 36:29–30; 36:78–81; 36:90–1; 37:70–1; 37:72–5; 37:80–2; 38:33–40; 38:88–9; 38:100–2; 39:19–23; 39:92–3.
40:13–15; 40:23–5; 40:96–8; 41:3–5; 41:22–4; 41:90–1; 41:92–3; 41:94–7; 43:44–51; 43:52–4; 43:87–9; 44:7–10; 44:62–3; 47:23–6; 47:98–9; 48:33–40; 48:57–8; 48:74; 48:85; 48:94–6; 49:33–40; 49:60–1; 49:93–5; 49:98–9.
50:36–9; 50:64–6; 50:80–2; 50:96–7; 51:41–7; 52:41–8; 52:49–56; 52:70–3; 53:17–20; 54:23–6; 54:27–9; 54:81–4; 55:25–9; 55:55–8; 56:33–40; 56:83–6; 57:9–11; 57:24–7; 57:33–40; 57:77–81; 57:89–92; 57:93–5; 57:98–9; 58:17–24; 58:49–62; 59:6–9; 59:33–40; 59:85–7.
60:47–9; 60:68-70; 60:88–91; 61:3–7; 61:8–10; 61:58–9; 62:3–6; 62:37–40; 62:103; 63:71–3; 64:7–10; 64:32–4; 64:41–3; 64:97–9; 64:104–6; 65:34–6; 65:47–9; 65:70–1; 65:74–6; 65:98–101; 65:106.
ceramic sculpture, 1:1–7; 2:86–9; 3:19–22; 3:23–8; 3:29–32; 5:3–7; 5:23–7; 5:58; 5:62–3; 5:90–2; 7:19–20; 7:34–5; 9:31–4.
10:59–60; 12:90–1; 13:78; 15:47–9; 15:60–2; 17:43–4; 18:42–5; 19:74–5;
20:96–7; 21:29–32; 21:55–6; 21:66–8; 21:88–94; 22:48–50; 22:86–90; 23:82–3; 23:87; 24:34–6; 24:45–7; 24:83–4; 28:68–9; 28:82–4.
30:13–15; 30:16–19; 30:72–5; 33:86–7; 33:91–4; 34:34–6; 34:78–9; 36:43–5; 37:37–9; 37:64–6; 38:57–8; 38:59–60; 38:61–2; 38:84–7; 39:49–51; 39:78–80.
41:25–6; 41:44–7; 42:91–5; 43:31–2; 44:7–10; 44:62–3; 45:33–40; 45:44–6; 48:88–9; 49:93–5.
50:69–72; 52:97–9; 52:93–6; 53:47–9; 54:50–3; 54:69–71; 55:44–7; 55:48–51; 55:63–6; 55:70–1; 58:28–30; 58:31–3; 58:44–6.
62:11–15; 63:43–6; 63:50.
ceramics education, 1:16, 18–19; 3:3–7; 3:23–8; 3:60–2; 4:55–7; 5:45–7; 5:67–9; 5:90–2; 6:54; 6:58; 6:60; 9:86–7; 11:51–3; 11:60–3; 14:50–1; 13:81–2; 32:50–1; 33:74–7; 41:92–3; 42:92; 55:55–8.
collections and galleries, 1:18; 1:44–6; 1:62–3; 1:64–6; 2:71–3; 3:49–51; 4:71–3; 5:56–8; 5:62–3; 5:64–6; 5:77–8; 9:14–15; 9:82–5; 26:98–101; 34:73–7; 35:81–3; 38:88–9; 41:88–9; 50:80–2; 52:49–56; 53:79–80; 54:81–6; 60:88–91; 62:4; 62:65–8.
conferences and symposia, 1:67–9; 3:43; 3:67–8; 6:56–8; 8:69–70; 11:52; 13:83–6; 15:80–2; 19:79–80; 21:88–94; 22:98; 22:100; 24:83; 31:98–100; 36:103; 42:106–7; 54:71; 54:93; 55:55–8; 58:97–103; 59:33; 59:34
installations, 57:21–3; 57:63–6; 58:13–16; 59:18–20; 65:66–9
residencies, 65:34–6
see also Aboriginal people of Australia, ceramics by; National Australian Ceramics Conference
Australia Day Ceramics Award, 9:85; 35:83
Australian Ceramic Society, 3:69–71
Australian Contemporary Ceramics (1997), 37:80–2
Australian Crafts for Tea (event, 1997), 31:92–4; 34:76–7; 50:66
Australian Fine China, 18:7
Australian Woodfire Survey 2005, 59:33–40
Austria
ceramics and ceramists, 27:74–5; 39:98–9; 50:90–2
ceramic sculpture, 55:85–7; 58:7–9; 61:76–7
Axeman – Spare that Tree (1993), 17:90–2
B
Ballarat University College (Australia), 5:67–9
Balmoral Pottery (Australia), 3:48
Baltic ceramics and ceramists, 59:77–9
see also Latvia; Lithuania
Banff Centre for the Arts (Canada), 4:77–9; 21:55–6; 25:9; 60:97
Barbara Silverberg Gallery (Canada), 10:90–2
Barbara Sorensen: Sculpture as Environment (c.1999), 42:48–51
Bauhaus design, 49:30; 50:57–8; 61:77–8, 79
Beach Mountain Pottery (Australia), 12:47
Beau Monde: Toward a Redeemed Cosmopolitanism (2001–02), 47:45–7
beauty in ceramics, 45:41–3; 60:67; 61:3–7Beauty in Ceramics – Garden of Delight (1999), 44:37
Being with Objects (1994–95), 19:33–40
Belgium, ceramics and ceramists, 8:10–12; 11:14–15; 14:33–6; 14:70; 24:66–7; 35:53–5; 36:15, 17, 19, 20: 36:73, 77
ceramic sculpture, 8:3–6; 21:51–4; 22:80–1; 23:53–5; 39:42–3; 43:39–41
collections and galleries , 43:36–8
installations, 43:98–100
Beneath our Feet (1999), 37:64–6
Besson, Anita, 36:31–4
Between Tradition and Contemporary Expression: Chinese Ceramics Today (c. 2003), 55:34–9
Biennale Internationale de Céramique d’Art, 11:19, 23
Biennale Internationale de Céramique d’Art de Vallauris, XIIème, 2:58–9
Biennale Nationale de Céramique, Quebec (Canada), 51:27–31
Biennial Exhibition of Swiss Ceramists, 13:79–80
Bimbimbi Ceramists (Australia), 1:16
Bizen ceramics, 9:15; 17:56–8; 22:91; 33:3–4; 38:90–2; 39:54; 48:97–9; 63:66–70
Blackadder Workfest (Australia), 16:78–9
blue and white ceramics, 64:32–4; 65:70–1
see also Willow Pattern
Blue Pottery of Jaipur, 23:40–1
Boissevain, Annemie, 42:87–9
Bold Earth (1990), 3:41–3
bone china, 53:61–5; 53:91; 65:66–9
see also porcelain
bonsai, ceramics for, 53:12–16
Bonsai inSites (c. 2003), 53:12–16
books and magazines, influence of, 8:66–7; 13:52; 57:52–7
books, ceramic, 40:30–2
Bophuthatswana, ceramists, 16:73–5
botanical forms and ceramics, 59:16–17; 61:55–7; 62:33–6
Böwig, Wolf, 36:61
Brand, Marianne, 35:91–2
Bray Foundation (USA) see Archie Bray Foundation
Brazil, ceramics in, 19:47–8; 31:55–7; 49:54–6
bread-making and ceramics, 6:66–7
bricks, 7:13–17; 20:29–31; 20:46–9; 51:50–3
Bridge of Fire: Two Potters East and West (1992–94), 30:78
Bristile Fine China (Australia), 8:22–4
British Telecom, 3:67–8
Brufa castle (Italy), ceramic sculpture, 21:10–14
Built, Thrown and Touched (1995), 24:62–5
Buncheong ware (Korea), 58:10–12
Burma see Myanmar
Burnt Earth (1998), 36:90–1
By the World Language of Ceramicists (1992), 12:60–2
C
Cage, John, 5:4–6; 20:9; 39:38–9
Cairns Airport (Australia), ceramic sculpture, 30:16–19
California State University at Fullerton (USA), 5:40
Caltex (Australia) Pty Ltd Ceramic Award exhibitions, 35:82
Campbelltown Cioty Bicentennial Art Gallery (Australia), 52:49–56; 54:81–6
Cameron Covert: 33 Years Working with Clay ( USA), 48:52–4
Canada
ceramics and ceramists, 1:34–5; 2:82–3; 7:18–20; 7:81–4; 8:80–3.
10:90–2; 12:24–6; 12:80–2; 13:87–9; 17:71–3; 18:17–20; 18:46–50; 18:63–6.
20:21–2; 20:86–8; 21:33–7; 21:55–6; 22:44–7; 22:59–61; 24:16–21; 25:8–11; 26:76–82; 27:14–21.
32:3–7; 34:80–1; 34:96–9; 35:87–9; 36:6–9; 36:51–4; 37:21–6; 37:98; 38:44–7; 39:87–91.
40:70–3; 41:11–15; 42:3–7; 42:52–6; 42:64–7; 43:42–3; 44:92–4; 46:57–9; 48:76–81; 49:20–4; 49:66–70.
51:27–31; 52:26–9; 53:75–8; 54:55–7; 55:30–3; 56:52–4; 59:25–7.
60:3–8; 60:59–61; 60:104–6; 61:63–5; 64:21–4; 64:25–8.
ceramic sculpture, 8:25–30.
10:3–9; 11:67–9; 14:41–4; 17:78–9.
22:65–9; 23:16–18; 26:46–52; 27:48–50.
39:8, 9–10.
45:96–8; 46:72–9; 47:27–9; 47:63–4; 49:17–19.
51:26–9; 52:80–2; 56:10–14; 56:49–51; 56:58–60; 56:70–3.
60:54–6; 63:91–3; 64:3–6.
installations and assemblages, 50:40–2; 51:3–8; 52:86–90; 57:45–7; 61:33–5; 65:81–7
National Biennial of Ceramics, 2:82–3; 12:80–2; 42: 52–6; 51:27–31
workshops and residencies, 50:40–2
Canadian Clay Teapots (1992), 10:91–2
Canary Islands, ceramics and ceramists, 21:47–50
Canberra School of Art, 1:16; 3:3–7
Caraque Foundation (Netherlands), 61:26
carving, 30:28–32; 37:33
Catastasis/Vase Forms, 62:78–81
Celebrating the Master (2004), 57:77–81
Centre Pompidou (France), 4:5–6
Ceramic Centre of La Borne (France), 62:75–7
see also kilns; La Borne
Ceramic Collectables (1990), 3:49–51
Ceramic Connections (2003), 53:79–80
Ceramic Contemporaries 1 (1993), 38:4, 6
Ceramic Contemporaries 2 (1996), 24:88–91
Ceramic Contemporaries 3 (1999), 37:94–7
Ceramic Culture Innovation Congress 2005 (Selb, Germany), 60:26–30
Ceramic Edition Research Group, 14:85
Ceramic 5 Studio (Australia), 3:52
Ceramic Garden (Uzbekistan), 5:70–5
Ceramic Millennium: Leadership Congress of the Ceramic Arts Foundation (1999), 35:24–5; 36:73; 36:83; 44:36, 37
Ceramic Modernism: Hans Coper, Lucie Rie and their Legacy (2002), 50:83–6
Ceramique 14 Paris 2005, 65:95–7
Ceramic Sculpture Invitational (1995), 23:77–81
Ceramics from Wales (1998), 38:4
Ceramics of the 20th Century – The Welle Collection (1998), 36:60–3
ceramics symposiums in Central Europe, 12:59–52
Ceramics – The Australian Context (1999), 38:33–40
Ceremony of Tea, The (1995–96), 24:48–9
Chamberlain Collection of Ceramics (Australia), 41:88–9
chattering, 8:32
Cheops Group (Netherlands), 11:11–13
childhood in ceramics, 60:36–40; 62:42, 43
Chile
ceramics and ceramists, 40:83
ceramic sculpture, 59:21–4; 63:50–2
China
ceramics and ceramists, 1:12–14; 2:31–3; 12:84–7; 13:60–5; 23:96–7; 25:74; 27:90–3; 31:64–5; 32:8–12; 37:27–9; 37:33–6; 38:70; 42:68–70; 46:97; 50:87; 56:67–9; 60:78–80; 62:58–61; 64:59–61
ceramic sculpture, 28:93–4; 36:4–5; 38:41–3; 40:81–2; 43:90–2; 46:10–13; 47:65–7; 47:80–1; 48:84–7; 53:57–60; 55:34–9; 56:79–82; 61:90–3; 61:106; 65:57–9
conferences, ceramics, 46:109–10
exhibitions, 61:3–7
influence of, 21:27, 28; 27:90–3; 28:3–7; 28:47; 36:25–8; 62:3–6; 62:25–8; 63:23–5; 64:21–4; 64:25–8
china clay, 64:80–6
China Clay Country Park, St Austell (UK), 64:80–6
china painting, 52:57–61; 54:35–7
see also decoration
Choson white porcelain, 44:24–5
Chthonic Realms: Philadelphia Collects Clay (1992), 10:74
Cineramics (2001), 46:72–9
Clay and the 90s (1989), 1:76–7
ClayArt (internet bulletin board), 35:42–3
clay bodies and clay making, 35:62; 41:92–3; 46:26–8; 47:3, 5
china, 64:80–6
Echizen clay, 58:25–7
inclusions, 56:22
non-shrinking clay, 54:48–9
Southern Ice, 57:38
Clay Connections (2003), 54:41–3
ClayFeast (2001, Gulgong, Australia), 42:106–7
Clay Feet group (Australia), 64:41–3
Clay in Philadelphia (event 1992), 10:68–74; 10:91
Clay Modern (2004, Gulgong, Australia), 58:97–103
Clay National, NCECA (1993), 11:54–7
Clay National, 29th (USA), 14:67–9
Clayplus (1997), 34:78–9
ClaySculpt Gulgong (1995), 19:79–80; 21:88–94; 22:100; 36:103
Clay Street Pottery (Australia), 3:42
Clay Studio, The (USA), 5:59–61; 61:58–9
Clay Works (1980), 6:49
Cleveland Craft Centre (UK), 62:11–15
CNC milling machine see computers and ceramics
COBRA group, 57:19, 20
coilmade ceramics, 39:48; 57:58
collaboration, 30:34–5, 36, 39; 30:78–81; 31:50–2; 33:8–14; 33:44–6; 49:88–92; 54:87–8
collage, 35:96–100
collecting ceramics, 42:26–9; 59:74–6
collections see galleries and collections
College Rousseau (Switzerland), 3:58
colour, 2:40–4; 5:44; 11:37–8; 14:67–9; 16:8; 16:12–14; 19:45; 21:3–9; 25:34–8; 31:15; 33:54–8; 35:7–13; 35:64–9; 41:3–5; 41:83–7; 42:22–5; 43:28–9; 43:44–51; 50:75; 60:50–3; 61:33–5; 62:97–8; 64:67
and form, 46:25–31
see also decoration; glazes
Colour and Fire (c.2001), 44:68–73; 46:102–3
Colour and Function (2001), 43:44–51
Commemorative Mugs for the Millennium (2000), 43:61–6
commentary on ceramics, 56:100–2; 64:103
see also art/craft debate; craft
Committed, 36:81
computers and ceramics
CAD-CAM, 18:6
CNC (computer numerical controlled milling), 33:80–2; 46:26; 58:31–3
decoration, 41:38
design, 8:22–4; 57:83–4
glazes, 16:60–5
Concorso Internationale della Ceramica d’Arte (Italy), 47th, 8:47–52
conferences, ceramics, 3:77–9; 14:67–9; 19:76–8; 46:106–8; 46:109–10
see also entries under country names and conference titles
Constructivism, influence of, 63:43–6
containers, 59:52–4
see also vessels
Containment: the Space Within (1994), 17:71–3
Contemporary Ceramics – Selections from the Met (1998), 39:39–42
Contemporary Delftware Project, 2:76–81; 5:88
Contemporary East European Ceramics (1992), 10:68–9
Contemporary Visions (1996), 24:101–2
Contrast and Continuum (1992), 10:71–2
Cookworthy, William, 64:80–6
Cooled Matter (1999), 39:6–15
Countermodernism, 53:99–101; 55:40–3
see also Modernism; Postmodernism
craft
definition of, 26:102–3
nature of, 53:96–8; 53:106; 54:89–93; 57:52–7
see also art/craft debate
Crafts Council, British, 11:87–8, 89
Crafts Council of Australia, 8:71; 11:79–80
Crafts Council of New South Wales (Australia), 2:66–8
crafts councils, 8:64–5; 11:89
creamware, 35:20–1; 35:35
creative process, 2:3–7
Cremer, Gottfried, 7:75–80
criticism and comment in ceramics, 3:89; 5:93; 6:59–61, 6:62–5; 6:66–7; 6:68–70; 7:69–72; 7:73–4; 9:4–5; 14:22; 36:15–20; 38:15, 18; 61:100–5
see also books and magazines, influence of
Croatia, ceramics and ceramists, 19:76–8; 37:67–9
Cross Currents (1999), 41:73–5
Crowan Pottery (UK), 7:9; 9:23; 10:17
Crushed and Worn Down (c. 2001), 47:41–3
Cuppacumbalong (Australia), 1:64–6
cups, coffee, 30:82–4
see also domestic ware; tableware
Czech Republic
ceramics and ceramists, 16:15–21; 24:54–6; 28:77–9
ceramic sculpture, 16:15–21; 21:3–9; 22:70–3; 30:44–5; 32:41–5; 37:46–9; 64:46–50
D
DADA, 61:52
Dartington Pottery (UK), 32:82–4
Dart Pottery (UK), 11:89
David Jones Art Gallery (Australia), 3:60–2
Davis, University of California (USA), 62:52–3
death as a theme in ceramics, 60:55; 61:45–8
decals, 35:97, 98, 100; 49:88–92
Decorated Clay (1991), 7:58–60
decoration, 8:31–2; 9:45; 9:46–7; 9:63–5.
10:22; 18:37–8; 18:52¬3; 19:5–7; 19:56–60.
21:33–7; 23:74–6; 24:7–12; 24:50–2; 24:68–71; 24:74–7; 26:26–8; 26:35–7; 27:63–5.
30:10–12; 30:28–32; 30:46–8; 32:46–9; 32:83–4; 33:54–8; 33:80–2.
41:37–8; 41:67–70; 42:6–7; 42:10, 11; 45:25–7; 45:64–5; 48:14–15.
50:73–5; 58:89–91.
carved and incised, 62:25–8
clip art, 57:30–1
collage, 49:20–4
Copier Art, 58:32
decals, 35:97, 98, 100; 49:88–92: 58:59
graphic, 49:14–16
layered clays, 46:6–9; 60:50–3; 61:8–10
line and pattern, 58:31–3
painted, 30:46–8; 30:88–9; 48:90–3; 50:8–13; 51:7–10; 51:23–5; 52:57–61; 54:94–5; 57:67–9; 60:54–6; 60:80; 62:58–61; 62:97–8
pattern, 46:6–9; 48:70–2; 57:24–7
perforated, 50:8–13
photo transfer, 48:52–4
printed, 38:48–50; 58:59
silk-screening, 61:63–5
text, 49:20–4; 58:33
see also china painting; colour; decals; drawing; glazes; screenprinting
Delftware, 2:76–81; 28:25–6; 44:35
English, 46:46–8
Delusion of Surface (1990), 5:64–6
Denmark
ceramics and ceramists, 1:28–9; 2:24–5; 6:34–6; 10:15–18; 13:16–18; 13:41–4; 15:40–4; 20:46–9; 21:22–5; 23:8–12; 36:64, 67; 52:74–6; 62:20–4
ceramic sculpture, 12:33–6; 12:40–2; 34:91–5; 36:102–3; 38:78–9; 50:14–17; 54:58–60; 60:19–22
De Porcelyne Fles (Netherlands), 2:76–8, 12:38; 18:29; 44:35; 63:94–5
Deruta company (Italy), 6:39–40; 24:68, 70–1
Deutsche Keramiker Gruppe 83, 64:74–7
see also Gruppe 83
Deutsche Werkbund, 61:78
Different Matter (1998), 37:42–5
Dining with Readymades (1998), 36:29–30
Dinner at the Banff Centre, A, 4:77–9
Distelfink Gallery (Australia), 5:64–6; 34:73–7
Diversity in Clay (1993), 14:82–4
domestic imagery, 61:63–5
domestic ware, 1:8–11; 1:73–5; 6:19–20; 6:39–40; 6:58; 7:19; 8:16–18; 9:54–5; 9:77–9; 11:9; 11:52–3; 13:49–50; 16:58–9; 18:37, 38; 35:20; 35:34–5; 40:99–100
see also function and functional wares; tableware; teapots; utility
Dormer, Peter, 35:101
drawing, 45:25–7
Drawing a Line in the Clay (1991–92), 6:72–4
drought as a theme, 62:11–15
Drutt, Helen, 36:85–9
E
Earth and Fire (c.1994–95), 22:82–5
earthenware, 35:20–3; 42:9–10
traditional production, 1:73–5
Earth Works (2000), 42:64–7
East/West influences, 13:57–60
East and West symposium (Hungary), 7:66–8
Echizen ware (Japan), 9:56; 35:77
education in ceramics, 57:52–7
Australia, 1:16, 18–19; 3:23–8; 4:55–7; 5:45–7; 5:67–9; 5:90–2; 6:58; 6:60; 9:86–7; 11:51–3; 11:60–3; 14:50–1; 13:81–2; 32:50–1; 33:74–7; 41:92–3; 42:92; 55:55–8
Bophuthatswana, 16:73–5
German Democratic Republic, 35:49–52
Japan, 1:15, 18; 1:25–6; 5:4–5; 10:33
Korea, 8:19; 18:14
Sweden, 8:20–1
UK, 10:30; 11:88; 63:64–5
USA, 4:46–8; 6:20; 8:21; 8:84–6; 11:30–1; 15:87–8; 20:11–12; 60:62–7
emotion in ceramics, 62:93–6; 64:51–6
English Potters’ Seminar (Germany), 14:91
environmental movement and ceramics, 33:44–6
environment and the natural world in ceramics, 43:31–2; 49:93–5; 51:3–8; 51:60–1; 55:59–62; 56:52–4; 57:18–20; 57:24–40; 57:89–92; 57:97–7; 58:13–16; 58:45; 60:104–6; 62:11–15; 62:33–6; 63:37–9; 64:87–92; 65:9–13; 65:98–101; 65:104–5
see also landscape
eroticism in ceramics, 38:19–23; 54:98–9; 59:100–2
E-67 exhibition (c.2004), 59:77–9
Estonia
ceramics and ceramists, 42:52–5
ceramic sculpture, 33:66–7; 59:77–9
ethical and moral issues, 63:61–3
see also social and political commentary
Europäisches IndustrieMuseum für Porzellan und Keramik (EIMPK) (Germany), 60:26–30
Europe, ceramics in, 1:52–3
see also entries under individual country names
European Ceramics Gallery (UK), 15:91–3; 34:47–50
European Ceramic Work Centre (‘s-Hertogenbosch, the Netherlands), 11:90–1; 36:55–9; 39:63–6; 40:3–7; 41:62–3; 44:37; 49:5; 50:6–7; 62:90–2; 63:47, 49; 64:64–7
Evans, Don, 26:68–70
Everson Museum of Art (USA), 4:3–9
Evocative Object (The), New Work in Clay (1997), 31:86–91
Exhibition of Small Ceramics, 4th World Triennial, 19:86–9
Exiting (1990), 5:67–9
Exploring a Movement: Feminist Visions in Clay (1995–96), 25:48–52
Expressing the Human Form: The Figure in Contemporary Ceramic Sculpture (2001), 49:41–4
Expression and the Potential in Contemporary Ceramics, The (1996), 27:41–7
F
Face to Face (c. 2003), 57:63–6
Facets of the Same Nature: A Survey of Contemporary Dutch Ceramics (1993), 16:84–6
Factory 798 (Beijing), 65:57–9
Faenza, International Ceramic Art Competition (Italy), 25:96–7; 48:29–32; 50:55; 62:54–5; 63:3–8
faience, 16:18–19
see also maiolica
Farrell Collection (USA), 12:69–71
Fauves, 51:7–10
Favoroni, Antonello, 6:40
Favoroni, Marcello, 6:40
feminism and the female in ceramics, 25:48–52; 26:46–52; 50:50–3; 56:21–7; 57:59–62; 61:63–5; 61:76–80
Feu Sacré (Sacred Fire) (2000), 44:60–5
fibreglass, polyester-reinforced, 62:20–4
Fiction, Function, Figuration: The 29th Clay National (1993), 14:67–9
figurative ceramics, 36:68–71; 40:52–6; 45:52–4; 45:90–2; 46:67–71; 48:14–15; 48:44–7; 48:88–9; 49:41–4; 53:50–3; 54:61–2; 54:67–8; 55:8–12; 57:3–6; 57:59–62; 57:63–6; 58:34–7; 58:44–6; 58:64–6; 58:71–4; 59:14–16; 59:63–5; 59:66–9; 59:95–6; 60:32–5; 60:36–40; 60:81–4; 61:76–80; 61:83; 61:98–9; 62:11–15; 62:41–5; 62:52–3; 62:93–6; 62:99–102; 63:58–60; 63:61–3; 63:91–3; 64:51–6; 64:68–70; 65:57–9; 65:60–2
see also sculpture
Fiji, ceramics, 11:77
Finland
ceramic industries, 25:62–6; 34:32
ceramics and ceramists, 50:88–9
ceramic sculpture, 22:62–4; 43:101–2; 56:74–8; 63:61–3
installations, 56:74–8
Fire at Both Ends (2002), 51:26–9
Fire-Up Gulgong (event 1993), 13:83–6; 22:98; 24:83
firing
anagama, 1:12–14; 9:88–9; 10:39–42; 20:4–5; 28:8–11; 31:50–2; 35:103; 52:41–8; 58:25–7
black, 31:58–61; 44:46–9
and colour, 7:46
high, 44:86–8
lowsalt, 45:76
noborigama, 55:5
with organic matter, 61:46
pit, 17:45
raku, 3:78; 4:46; 5:14–15; 8:40–1; 9:66; 10:38; 11:81; 12:74; 13:41–4; 18:53; 19:70–1; 20:17–18; 21:40–1; 25:83–7; 37:6; 37:90, 92; 38:7–10; 38:24–7; 38:55; 38:64; 43:106; 45:75–7; 58:62–3
saggar, 4:58–60
salt, 4:55–7; 13:30; 23:6; 57:89–92
sawdust, 3:16
single, 13:63
smoke, 33:42
soda, 18:70–3; 18:74–6; 55:25–9
traditional, 6:42; 7:43
wood, 1:47–9; 2:40; 2:60–1; 3:13–18; 6:83–5; 8:84–6; 9:57, 58–9; 9:88–9. 10:10–14; 10:30–1; 10:46–8; 11:24–5; 11:86, 88; 12:18–22; 12:46–8; 12:66–8; 13:83–6; 15:63; 16:37–40; 16:66–9; 19:18–19.
20:4–5; 20:85; 22:91–3; 22:97–9; 23:6; 23:8–12; 24:83–4; 25:58–61.
32:78–81; 33:22–5; 35:62; 35:77–80; 35:103; 37:83–5; 39:75–7; 39:81–2.
45:13–17; 45:28–9; 49:32; 49:38–9.
53:70–4; 56:20–2; 59:33–40.
60:63–6; 62:24; 64:100–2; 65:74–6.
see also kilns; glazes
flashing, 2:40–4
Fletcher Challenge Ceramics Award (New Zealand), 3:55–6; 6:80–2; 9:52; 10:64–7; 13:23; 13:73–7; 21:75–8; 23:5, 6; 26:73; 48:73
food and ceramics, 50:76–9; 50:88–9
Ford, Henry, 61:84–5
Forest of Ceramic Art (Shigaraki, Japan), 5:53–4
found objects, 39:35; 39:88, 89, 90; 40:57–9; 51:45–7; 61:66–9
Four Fine Bowls, The (1999), 37:71
France
ceramics and ceramists, 1:20–1; 2:58–9; 3:13–18; 8:56–9; 11:16–18; 14:9–12, 27:10–13; 30:33–40; 33:9–10, 11, 12; 33:22–5; 34:37–9; 39:57–61; 39:81–3; 42:80–3; 44:20–3; 44:95–7; 49:12–13; 49:51–3; 50:93–5; 51:7–10; 54:17–22; 60:41–6; 62:36; 63:34–6; 65:95–7
ceramic sculpture, 22:93–6; 24:42–4; 25:83–7; 31:47–9; 38:24–7; 38:54–6; 43:33–5; 45:13–17; 46:32–4; 49:25–9; 54:12–16; 61:11–14; 62:75–7; 63:15–18
François-Houdé prize (Canada), 60:59–61
Frank Lloyd Gallery (Santa Monica, USA), 42:75–9
Fremington Pottery (UK), 11:10
From the Earth I Arise: The Ceramics of Marguerite Mahood (1997–98), 30:90–1
From the Ground Up (1992), 10:69–71
From the Water’s Edge (1994), 20:89–91
From Tradition to Diversity (2003), 55:55–8
Fumed and Quenched (1993–94), 18:95–6
function and functional wares, 1:44–6; 2:81; 5:3–8; 5:87–9; 6:16–20; 9:31–4. 11:52; 13:49–50; 14:74–6; 16:80–1; 17:22–4; 17:30; 19:36–40.
21:69-71; 21:76–8; 21:95–7; 23:3–7; 23:8–12; 23:7–12, 25:80–2; 27:10–13; 27:63–5; 27:78–81.
30:34–5; 32:15–16; 34:30–3; 34:68–72; 34:82–5; 34:86–90; 35:4; 35:34–5;35:84–6; 36:71; 38:74–7.
41:16–17; 42:42–4.
50:3–7; 51:81–7; 53:66–9; 59:82–3.
60:101–3; 61:78; 62:26
and art, 3:86–8; 10:16; 10:84–5; 14:15; 35:73–6; 45:30–2; 50:3–7
denial of function, 24:17; 30:10–12; 31:44–6; 32:53, 54–5; 32:94–6; 33:19–21; 39:88–91
see also containers; domestic ware; tableware; teapots; utility; vessels
Funk, 5:3; 5:33; 8:61–2; 13:12–15; 13:48; 16:50; 21:16, 17; 50:29–35; 62:52–3
Skangaroovian, 8:61–2; 36:43
Fusion of Spirit and Form (1990), 3:60–2
Future Function (2003), 57:98–9
G
Gaia 90 conference (Portugal), 3:77–9
Galerie Amphora (Netherlands), 28:85–8; 42:96–101
Galerie Besson (UK), 5:82–4; 36:31–4
Galerie Carla Koch (Netherlands), 63:100–3
Galerie De Witte Voet (Netherlands), 42:87–9
galleries and collections, 36:31–4; 37:86–90
Australia, 1:18; 1:44–6; 1:62–3; 1:64–6; 2:71–3; 3:49–51; 4:71–3; 5:56–8; 5:62–3; 5:64–6; 5:77–8; 9:14–15; 9:82–5; 26:98–101; 34:73–7; 35:81–3, 38:88–9; 41:88–9; 50:80–2; 52:49–56; 53:79–80; 54:81–6; 60:88–91; 62:4; 62:65–8
Belgium, 43:36–8
France, 14:88–90
Germany, 7:75–80; 14:91–2; 36:10–11; 36:60–3; 36:99–100; 37:86–90
Japan, 24:86–7; 25:94–5
Netherlands, The, 18:58–62; 28:85–8; 36:72–7; 42:87–9; 42:96–10
Switzerland, 15:94–6; 20:92–3
UK, 4:3–9; 5:82–4; 15:91–3; 34:47–50; 36:31–4
USA, 4:3–9, 5:59–61; 8:74–9; 12:69–71; 33:41–3; 36:85–9; 40:41–3; 42:26–9; 42:75–9; 44:68–73
Gallery Carla Koch (Amsterdam), 36:72–7
Gallery Lunami (Japan), 24:86–7
Gallery Marianne Heller (Germany), 37:86–90
Gallery of English Ceramics (Germany), 14:91–2
Garden of Delight, The (Rotterdam), 36:82–4
Garth Clark Gallery (USA), 8:74–9
Gastronomy, La (1996), 27:10–13
Geffrye Museum (UK), 62:35–6
gender
ambiguity, 62:96
issues and ceramics, 50:50–3
see also feminism and the feminine in ceramics
Geography of Magic exhibitions (1994–96), 22:86–90
geometric/abstract art and ceramics, 49:3–7
Genocide (1990), 4:49–51
German Ceramics 1995, 26:64–7
German Democratic Republic (GDR), ceramics and ceramists, 30:25; 35:49–52
see also Germany
Germany
ceramics and ceramists, 1:52–3; 2:26–30; 3:33–4; 4:10–12; 4:74–6; 7:8–12; 7:41; 7:75–80; 9:22–5.
11:33–6; 12:8–11; 14:53–5; 14:77–9; 17:59–62.
20:23–8; 22:77–81; 24:50–2; 26:64–7.
30:10–12; 30:24–6; 31:3–9; 31:36–7; 31:58–61; 33:51–3; 34:43–6;36:99–103; 37:14–17; 37:86–90; 38:28–32.
40:60–2; 41:71–2; 43:77–8; 44:74–8; 45:21–4; 48:16–18.
53:3–7; 59:52–4; 64:74–7.
ceramic sculpture, 4:10–12; 17:59–62; 21:79–82; 22:77–81; 26:26–8; 34:10–15; 34:25–9; 39:3–5; 30:20–3; 43:77–8; 51:78–80; 61:76–7; 62:104–5
and early Australian pottery, 2:35–7
collections and galleries, 7:75–80; 14:91–7; 36:10–11; 36:60–3; 36:99–101; 37:86–9
exhibitions, symposia and awards, 43:96–7; 57:74–6; 60:26–30
salt glaze, 2:26–30
Ghana, ceramics and ceramists, 63:79
Gilbert, Eddie, 8:55
gilding of ceramics, 56:52–4
Glasgow School of Art (UK), 3:24; 3:72
glass and ceramics, 4:18–23; 38:24–7
glazes, 18:52; 19:83–4; 37:19; 38:26; 39:58–9; 42:10
Arabian lustre, 32:59–60
ash, 22:97–8
Asian style, 2:46; 21:28
Bat Trang crackle, 23:42–6
black, 35:25, 27, 28
celadon, 6:45–6; 7:57; 18:13; 21:28; 25:67–70; 35:3–6; ; 64:71–3
Chinese, 32:46–9; 36:25–8
computer calculations for, 16:60–5crackle, 36:24–8
crawling, 16:14
crystalline, 48:52–3
experimentation, 60:71–4
flashing, 15:63–5
and form, 12:39glaze–on–glaze, 26:84–5
gun metal, 21:28
Japanese, 1:26; 16:61; 17:58; 22:91
lead, 2:26, 28; 34:38; 35:20
lustre, 5:66; 11:86, 88; 15:48–9; 17:46; 27:30–4; 45:47–51
lustre, iridescent, 59:92–4
maiolica, 21:33–4; 22:74–6; 24:68–71; 28:25–8; 45:47–51
manipulation of, 49:14–16
multiple, 8:31
oribe, 9:30
qingbai, 63:3–8
salt, 1:34–5; 2:12; 2:26–30; 2:40–4; 3:47–8; 4:58–60; 9:69–72.
10:15–18; 10:30–2; 12:12–17; 12:18–22; 12:72–3; 13:30; 14:77–9.
27:94–6; 27:103; 28:95–8.
35:20, 23; 35:35–6; 35:84–8; 39:75; 44:95–7; 57:89–92.
63:19–22; 65:50–1.
Sansai Tang, 28:47
shino, 7:50–4; 9:89; 34:15; 35:78–80; 44:92–4
slip used over, 16:14
soda, 55:25–9
stoneware, 3:12; 32:82, 83–4
tenmoku, 21:28
tin, 11:86, 88; 12:12–17; 14:93–4; 45:47–51; 60:43
Glimpse of the Invisible, A (2000), 49:57–9
Goddesses (1994–95), 19:93–7; 20:86–8
globalisation, 60:32, 34
Glory in three minutes, two miles (1998), 33:91-4
Gold Coast International Ceramic Art Award
2001, 48:62–5
2002, 51:92–5
Gold Coast National Ceramic Art Award (Australia), 12:74–5; 24:92–4
Gold Coast Potters Association (Australia), 12:75; 40:76–80
Golden Bridge Pottery (India), 64:35–7
Good Enough to Eat From (conference, 1997), 34:68–72
Goulburn Regional Art Gallery (Australia), 1:44–6
Grand Prix de la Ville de Vallauris (France), 11:19, 23
Grazia, Dr Ubaldo, 6:39–40
Grazia Deruta company (Italy), 8:16–18
Great Platter Auction (Australia), 6:54–5
Greece
ceramics and ceramists, 8:38–9; 28:54–7; 39:24–5; 52:62–6; 61:15–16
ceramic sculpture, 22:82–5
Green Gallery (Japan), 25:94–5
Greenhalgh, Paul, 7:69, 72
Grenier de Villâtre, Le (Nancay, France), 32:97–8
Ground/Connection (1995), 26:46–52
groupings, ceramic, see still life
Gruppe 83 (Germany). 64:74–7
Gulgong Express, The (kiln), 13:83–6
Gundaroo Woodfire 2005 (Australia), 59:34
H
Hackman-Arabia (Finland), 18:4, 6
Hagi potters (Japan), 16:53–6; 17:56–8
Hardingham International Collection (Jamaica), 6:75–6
Harsa (company, Israel), 15:83–6
Harsit (company, Israel), 15:83–6
Harvest: Coming Full Circle (exhibition 1992–93), 11:67–9
Hasin Esha (company, Israel), 15:83–6
Headshots (2000), 44:82–3
Heartlands (c.1997), 30:58–61
Helen Drutt Gallery (Philadelphia), 36:85–9
Heller, Marianne, 14:91–2; 37:86–60
Hermanns Art Award (Australia), 54:85–6
Hermannsburg potters (Australia), 6:21–4; 11:77–8
Heroes, Icons, History and Memory (conference, 1998), 34:96–9
Heusden Group (Netherlands/USA), 18:30
Hinder/Reimers Collection (Germany), 36:99–101
Hindmarsh Pottery (Australia), 2:38
historic models in ceramics, 62:78–81; 62:99–102
see also ancient ceramics; traditional ceramics
history of ceramics, influences on, 54:89–93
Hobart (Australia) Wapping Wall, 36:21–3
Hollow and the Whole, The (2004), 60:47
Hol Sach company (Israel), 15:83–6
Homage to the Etruscans, 40:90
Hong Kong, ceramics, 39:84–6
Hood, Kenneth, 60:88–91
horse as a theme, 49:17–19; 64:3–6; 65:73
houses as a theme, 32:85–7; 46:80–2; 46:101; 49:25–9; 64:3–6; 65:72–3
human figures see figurative ceramics
Human Thought (1992), 10:33–7
humour in ceramics, 5:48–51; 35:21, 23; 38:75; 39:87, 88; 51:19–23; 51:74–7; 53:47–9; 54:35–7
Hungary
ceramics and ceramists, 2:69; 7:66–8; 13:22–4; 16:8; 21:66–7; 25:98–100; 35:26–32; 39:67–9; 40:101–3
ceramic sculpture, 10:49–53; 12:7–11; 12:58–9; 49:96–7; 57:70–3
see also International Ceramics Studio at Kecskemét
Hyperclay Gulgong ’98, 31:98–100
I
Iceland, ceramics, 4:18–23; 36:92–5
illusionist ceramists, 40:48–51; 50:98–9
see also trompe l’oeil
impagliata, 51:23–5
Impulse (2005), 59:6–9
Inax (company, Japan), 12:83
Inax Design Prize for European Ceramic Artists, 12:83; 36:77; 60:53
India
ceramics and ceramists, 1:74; 23:39–41; 52:77–9; 64:35–7; 64:93–6
ceramic sculpture, 26:10–13
ceramics education, 64:36–7
influence of, 32:59, 61–2; 40:32
traditional ceramics, 64:37
Indigenous Australians, ceramics by see Aboriginal people of Australia
Indonesia, ceramic sculpture, 24:80–2
industrial ceramics, 1:22; 8:22–4; 9:23; 9:51–2
industry
artist residencies in, 1:22–4; 2:76–81; 3:64; 4:21–3; 5:88; 8:16–18; 15:83–6; 34:92–5; 50:48
in Australia, 11:51–2; 18:3, 6–7; 19:36
ceramists designing for, 3:67–8; 4:11; 5:38–9; 6:39–40; 8:22–4; 17:17; 18:3–7; 34:32–3; 36:74; 53:3–7; 57:83–4
influence, nature of, 37:55–8
interaction with artists, 6:56–8; 8:60; 8:68–71; 9:31; 10:46–7; 11:51–3; 11:89; 12:83; 18:3–7; 61:78
information on ceramics, 57:52–7
Inglewood Ceramics Awards of South Australia, 3rd, 8:60–2
installations and assemblages, 1:22–4; 4:41–2; 5:62–3; 7:21–3; 9:41–2.
10:3–9; 10:33–7; 10:72, 73, 74; 10:75–7; 13:71–2; 18:12–16; 19:22–6; 19:66–9.
20:46–9; 20:71; 20:86–8; 20:94–5; 21:72–4; 22:19–21; 24:13–15; 24:62–5; 24:80–2; 24:86–7; 27:22–6.
31:24–8; 31:66–8; 33:30–2; 34:64–7; 38:44–7; 39:6–15.
40: 13–15; 40:31–2; 41:25–6; 41:62–6; 41:78–82; 43:85–6; 43:98–100; 44:46–9; 47:50–5; 48:19–22; 48:41–3; 48:48–51; 48:85; 49:62–5; 49:93–5.
50:40–2; 50:50–3; 51:3–8; 52:21–2; 52:70–3; 52:87–90; 53:28–9; 53:53–6; 54:3–8; 54:9–11; 54:70; 55:82–4; 55:91–3; 56:74–8; 56:93–5; 57:18–20; 57:21–3; 57:45–7; 57:48–51; 58:13–16; 58:58–9; 58:71–4; 59:18–20.
60:9–12; 60:71–4; 61:33–5; 61:63–5; 62:97–8; 63:9–12; 63:47–9; 64:14, 15; 65:81–7; 65:104–5.
Institute of Artistic Ceramics (Germany), 3:33–4
International Academy of Ceramics, 3:72–5; 12:60–2
International Ceramic Awards (Mino, Japan) see Mino International Ceramics Competition and Festival
International Ceramic Art Competition see Faenza, International Ceramic Art Competition
International Ceramics Biennale, 1st (1993), 15:83–6
International Ceramics Museum of Faenza (Italy), 25:96–7; 62:54–5
see also Faenza, International Ceramic Art Competition
International Ceramics Studio at Kecskemét (Hungary), 7:66–8; 25:98–100; 35:26–32; 35:100; 39:67–9
International Ceramics Symposium, XIV (Czechoslovakia), 12:49–52
International Porcelain Symposium, 14th (Poland), 12:49, 52
International Potters Festival Aberystwyth (Wales), 35:31–2
International Symposium of Garden Ceramics (Uzbekistan, 1990), 5:70–6
International Triennial of Porcelain, 3rd (Switzerland, 1992), 11:72–5
internet, ceramics on the, 27:99–102; 35:42–3
Interpace Corporation (USA), 5:39
Intersect (2003), 55:44–7
Ireland
ceramics and ceramists, 46:6–9; 58:40–3
ceramic sculpture, 50:43–7; 60:36–40
Irish Salt-Glaze Seminar (1994), 19:76–8
Irrawang Pottery (Australia), 2:38
Islamic ceramics, 65:102–3
Israel, ceramics and ceramists in, 13:19–21; 15:83–6; 17:47–9; 20:40–2; 37:42–5; 37:50; 38:71–2; 41:48–51; 42:45–7; 46:101; 61:17–19
Italy
ceramics and ceramists, 2:18–21; 4:29–31; 6:37–40; 8:16; 9:66; 33:11; 33:54–8; 34:51–5; 35:64–9; 37:62; 39:19–23; 40:8–12; 40:89–91; 61:70–2; 62:49–50; 64:44–5; 65:31–3\0
ceramic sculpture, 2:18–21; 4:29–31; 21:10–14; 22:12–14; 22:86–90; 23:47–9; 27:71–3; 28:63–6; 28:67; 31:40–3; 41:18–21; 49:8–11; 50:54–6; 51:35–7
exhibitions, symposiums and competitions, 50:55; 45:87–9; 46:52–6; 59:41–3; 60:71–4; 62:54–7
impagliata, 51:23–5
influence of, 45:33–40; 55:79–81; 57:3–6; 58:45–6; 64:44–5
museums and galleries, 25:96–7
see also maiolica
It’s Hard to Know, 18:93–4
Iznic ceramics (Turkey), 62:95, 96
K
Karatsu ceramic tradition, 30:78–81
Kecskemét see International Ceramics Studio at Kecskemét (Hungary)
Kent Collection (Australia), 9:14–15
Keramikegruppe Grenzhausen (Germany), 14:53–5
Keramik Europas (1994), 15:69–74
Keramion Museum (Germany), 7:75–80
Keramisch Werkcentrum (Germany), 4:74–7
Key Figures of Modern Ceramics (2002), 50:24–8
Kilkenny Design Workshops (Ireland), 58:40–3
kilns
anagama, 1:12–14; 9:26, 29; 9:88; 10:39–42; 13:84–5; 17:90–2; 18:54–7; 20:10; 20:85; 35:103; 48:67–9; 53:88–9; 58:61–9
bank, 16:78–9
beehive, 50:40–2
Bourry box, 34:41
catenary climbing, 39:75, 76, 77
Dancing Fire, 48:68, 69
in Denmark, 52:74–6
dragon, 17:50–3; 20:85; 62:77
Feller, 3:17
four couché (France), 33:22–5
Gulgong Express, The (Australia), 13:83–6
Kobei, 9:27–8
La Borne (France), 3:13–18; 33:22–5; 45:13–17
muffle, 17:45–6
noborigama, 20:51; 20:85; 22:97–9; 37:54; 39:54–6
ogama, 9:26
oribe, 9:29
paper, 3:15–16; 6:42–4; 15:94–6
salt glaze, 2:40–4; 11:33–6; 28:95–8; 44:95, 97
sculpturekiln, 38:78–9
tunnel, 16:27–8
Westerwalder, 11:33–6
woodfiring, 3:13–18; 9:57, 58–9; 10:47; 12:47; 33:22–5; 53:71–2; 64:101–2
see also firing; glazes
Kilns of Denmark (c. 2003), 52:74–6
King, James, 2:38
Kitsch, 5:54
Koch, Carla, 36:72–7
Kohler Company factory (USA), 1:22–4; 28:100
Korea
ceramics and ceramists, 6:45–7; 8:19–21; 13:45–7; 14:25–7; 16:41; 18:12–16; 20:75–80; 23:99–100; 31:82–5; 41:6–10; 41:73–5; 44:24–5; 52:21–2; 56:8–9; 56:96–9; 58:10–12; 60:16–18; 64:87–92
ceramic sculpture, 23:32–5; 24:22–5; 28:70–3; 33:59–60; 44:11–13; 44:46–9; 46:86–7; 47:72–4
exhibitions and expos, 6:45–7; 44:102–3; 58:75–6; 60:24
influence of, 33:54, 56–8; 33:72–3
installations, 62:51
traditional ceramics, 56:8; 56:98–9; 64:88–9
Koryo celadon, 6:45–6
Kuma Shino, 35:78–80
Kutani International Decorative Ceramics Competition, 1997, 31:95–7
Kuwait, ceramics and ceramists, 65:102–3
Kyoto University of Fine Arts, 5:4–5
L
La Borne Ceramists Society (France), 62:75–7
Lajamanu school (Australia), 1:50–1
Lambeth Art Pottery Studios (UK), 47:84, 85
landscape and ceramics, 21:55–6; 32:74–7; 37:64–6; 37:72–5; 45:68–72; 45:99–100; 48:33–40; 48:41–3; 48:82–4; 49:60–1; 50:73–5; 53:8–11; 53:12–17; 54:30–4; 55:25–9; 56:3–6; 59:80–1; 59:92–4; 60:54–6; 61:55–7; 62:11–15; 64:81–2; 65:88–90
see also environment
Landy Collection, 40:41–3
La Paloma Pottery (Australia), 2:66, 68
large–scale works, 62:78–81; 63:40–2; 64:66
Lasting Impressions (c.1997), 30:88–9
Latvia
ceramics and ceramists, 39:24–5
ceramic sculpture, 6:3–6; 8:13–15; 59:77–9
Lawrence, Ken, 26:68–70
Layers and Legacies: Japanese Influences in Contemporary American Ceramics (Seattle, USA, 2006) 64:16–20
Leach Pottery (UK), 5:17; 8:87–8; 9:15; 9:90; 19:30; 21:26; 23:4
see also Leach, Bernard in Index of Artists
learning, 35:41–3
see also education in ceramics
LEGS Eleven (2003), 52:93–6
Lexhanna Collection (The Netherlands), 18:58–62
light, 44:7–10
Links and Balance (1999), 38:27
Lithuania
ceramics and ceramists, 2:22–3; 10:28–9; 30:76–7; 49:79–83; 61:26–8; 63:80–3
ceramic sculpture, 64:54–8
ceramic sculpture, 59:77–9London Group, 7:11; 31:4, 6
Lost Objects (1994), 17:84–6
lustre wares, 39:19–23; 39:30–2; 64:44–5
Luxembourg, ceramics and ceramists, 42:60–3
Lyons (Dr R.J.) Collection of South Australian Ceramics, 41:88–9
Lyrebird Ridge Pottery (Australia), 7:59
Lyrical Vessels (1993), 12:63–5
M
McBride, Frank, 4:71–2
McGregor Summer School (Australia), 6:18–19
Madoura Pottery (France), 5:77
Maestro Giorgio da Gubbio: Art, Science & Technology symposium (Italy), 64:44–5
magazines and books, influence of, 8:66–7; 13:52
Magdeburg (Germany), exhibitions, 30:24–6
Magicians of the Earth, 4:5–6
maiolica, 6:39–40; 8:16–18; 12:12–17; 18:17–20; 21:33–4; 22:74–6; 24:68–71; 28:25–8; 45:33–40; 55:79–81; 64:44–5
making, understanding, 22:55–8
Manly Art Gallery and Museum (Australia), 3:49–51
marine life in ceramics, 60:54–6; 61:3–7; 63:30–3
marketing ceramics, 23:19–25
Martin Boyd Pottery (Australia), 7:19; 24:69
Martin Brothers pottery (UK), 23:36–8; 28:95; 47:82–9
Mashman Brothers Pottery (Australia), 17:17, 18
masks, 43:93–5; 54:96–7
Masks of the Heart (1996), 22:86–90
mass-produced objects see production wares; ready-mades
Matter of Clay, A (2001), 48:76–81
Melbourne Cup (Australia) exhibition, 33:91–4
Metropolitan Museum of Art (New York), 36:39–42
Mexico
ceramics and ceramists, 2:3–7; 27:60–2; 41:39–41; 47:12–16; 55:77–8
sculpture, 63:58–60
Middle East, influence of, 60:68-70
Midwestern Clay: Anatomy and Architecture (1993), 12:69–71
Millennium Platter Exhibition (2000), 40:33–40
Milrad, Aaron, 17:4-11
mingei movement (Japan), 46:21–4
Mingei–sota movement (USA), 21:83–7
minimalism, 15:4–8; 63:53–7; 63:87–90
Mino ceramics (Japan), 9:26–30; 17:58
Mino International Ceramics Competition and Festival
1992, 16:93–4
1995, 25:91–3
1998, 33:88–90; 36:66
2002, 50:21–3
Miró: Playing with Fire (2000–01), 48:59–61
Mitsukoshi Etoile gallery (France), 14:88–90
mixed media, 45:63; 55:63–6; 56:93–5; 58:38, 39
see also assemblages; installations
model and mould making, 14:85; 18:5–6
see also moulds and moulding
modules and modular structure, 59:41–3
see also assemblages; multiples; repetition
Modernism, 36:36–7; 37:94–7; 45:22–3; 50:83–6; 53:99–101; 54:94–5; 55:43; 59:85–7; 60:92; 60:101–3; 61:76–80
see also Countermodernism; Postmodernism 55:40–3
Moly-Sabata (France), 11:16–18
Monarch National Ceramic Competition (USA), 28:74–6
monumentalism, 57:15–17
mortuary objects, 54:77–80
mosaic, 51:46–9; 54:79; 61:15–16
moulds and moulding, 25:64–6; 53:63–5
commercial moulds, 61:33–5
hobbyshop moulds, 57:28–32
models and, 14:85; 18:5–6
Move over Cross over (1995), 24:9, 10
Mud Like a Blessing (199/2000)46:83–5
Mud-pact (1990), 3:44–6
mugs, 43:61–6; 44:50–3
Multi Mud, 6:34
multiples, working in, 63:9–12; 65:44–6
Mungeribar pottery (Australia), 19:53–5
mural panels, 54:16–22
murals, 22:15–18; 25:18–22; 25:23–6; 25:27–30; 26:86–7; 32:21–2; 32:88–90; 38:28–32; 48:86–7; 58:66; 63:84–6
see also public space artworks
Musée Ariana (Switzerland), 15:94–6; 20:92–3
Museo de Ceramica (Barcelona, Spain), 34:56–8
Museum for Contemporary Art (Netherlands), 2:74–5
Museum für moderne Keramik (Stadtmauergasse, Germany), 36:99–101
Museum of Traditional Pottery (L’Atmella de Mar, Spain), 47:92–3
music and ceramics, 57:30
see also sound
Myanmar (formerly Burma), 65:60–2
My Grandmother Had a Spanish Lover, 4:65–7
My Kingdom for a Horse (c.2001), 49:17–19
My Yard (1993), 15:75–6
N
naive art, 2:86–9
Narek Galleries (Australia), 1:64–6
narrative, 40:48–51; 40:66–8; 40:84–8; 48:88–9; 48:90–3; 49:20–4; 49:48–50; 51:19–23; 51:24–5, 51:50–3; 52:57–61; 54:35–7; 57:41–4; 58:3–6; 59:70–3; 62:72–74; 62:102; 65:70–1
Nassauischen Sparkasse Ceramics Prize, 33:51–3
National Art School (Australia), 9:86–7
National Australian Ceramics Conference
6th (1991), 1:67–9; 3:43; 3:67–8; 6:56–8; 8:69–70; 11:52
7th (1993), 15:80–2
9th (1999), 54:71
10th (2003), 54:93; 55:55–8
National Biennial of Ceramics (Canada), 2:82–3; 12:80–2; 42:52–6
national characteristics in ceramics, 4:6–8; 38:100–2
National Gallery of Victoria (Australia), 60:88–91; 62:3–6
nature see environment; landscape
Nazarite lustreware, 39:30–2
Negev Ceramics (Israel), 15:83–6
Nepal, ceramics, 19:72–3
Netherlands
ceramics and ceramists, 2:74–7; 5:28–30; 8:44–6; 9:63–5.
10:38; 11:11–13; 15:20–3; 16:3–6; 16:84–6; 18:28–31; 18:90–2.
27:76–7; 28:24–6; 28:49–53; 28:85–8.
30:57; 32:24–9; 35:7–13; 35:24–5; 35:101; 36:72–7; 36:82–4; 39:44–8; 39:96–7.
40:3–7; 42:87–9; 42:93–101; 43:12–15; 43:23–5; 43:82–4; 44:14–19; 44:33–40; 49:3–7; 49:77–8.
54:44–6; 57:67–9.
60:50–3; 61:26–8.
ceramic sculpture, 18:28–31; 27:3–9; 31:10–14; 33:77–9; 36:3–5; 37:91–3; 38:80–3; 40:44–7; 42:17–19; 46:88–91; 53:21–3; 61:98–9; 63:13–14; 63:94–5; 64:64–7
collections and galleries, 36:72–7; 36:82–4
education, 44:36
influence of, 40:96–8
installations, 53:53–6
workshops, 45:73–4
see also European Ceramic Work Centre
NEVAC (National Electronic and Video Archive of the Crafts), 28:102–3
Newcastle (Australia) Ceramic Purchase Award Exhibition (1996), 24:98–100
Newcastle Studio Potters (Australia), 6:54–5
New Ceramics, 55:40–3
see also Modernism
New Ceramic Forms (Amsterdam, 1965), 44:35–6
New Irish Ceramics – A Journey (2004), 58:40–3
Newport and Wilkinson factory (UK), 18:59
New Work with Old Cultures (2005), 61:3–7
New York School, 5:38
New Zealand
ceramics and ceramists, 3:55–6; 4:24–8; 9:52–3.
10:64–7; 11:49–50; 11:76; 12:66–8; 13:66–9; 13:74–5; 15:66–8; 19:29–33.
20:89–91; 23:6–7; 28:12–15.
41:67–70; 45:55–9; 47:33–40; 48:82–4.
51:62–4; 53:84–7; 54:49–56; 54:81–4; 58:67–70; 58:89–91.
63:37–9
ceramic sculpture, 4:24–8; 23:71–3; 31:69–71; 35:60–3; 51:54–6; 54:30–4; 54:63–6
see also Fletcher Challenge Ceramics Award; Portage Ceramic Awards
Nietzsche, Friedrich, 61:50–2
Nigeria, ceramics and ceramists, 60:23–5; 61:13–14; 61:45–8
1995 Annual Muju International Clay Arts Symposium, 23:99–100
‘95 Jingdezhen Kaolin International Ceramic Art Conference, 23:96, 97; 23:98
non-objective in ceramics, 63:87–90
No Picnic: Contemporary Porcelain (1999), 41:44–7
Nordic Design Prize (Sweden), 21:22–5
Norfolk Island, ceramists, 11:77, 78
North American Ceramic Sculpture Now Exhibition (c. 2004), 58:92–6
Norway
ceramics and ceramists, 13:3–7; 14:13–15; 14:44–7; 16:70–2; 20:94–5; 25:23–6; 36:64–8; 38:63–6; 45:75–7; 45:85–6; 53:66–9; 54:38–40; 54:94–5; 55:13–17;
ceramic sculpture, 4:32–3; 47:94–7
ceramics education, 36:64, 65–6
symposiums, 55:52–4
Nouvelle Nuptials: New Visions in Wedding Traditions (San Francisco 2005), 64:11–15
Now & Now (2003), 58:75–6
O
Objects for Use: Handmade by Design (c. 2003), 51:81–7
On Books and Other Memorabilia: A Home for the Past (1999), 41:28–30
One from the Heart, 38:4
Onggi pottery (Korea), 16:41
optical illusions, 37:51–4
Organic Abstraction, 22:3–11
organic forms, 62:33–6; 62:43–4
see also botanical forms; environment
ornament see decoration
Oslo International Ceramics Symposium (2003), 55:52–4
Otis Art Institute (USA), 5:36–8; 20:9–10
Oxshott Pottery (UK), 28:95–8
P
Pacific, traditional crafts of, 11:76–8
painting (20th century) and ceramics, 33:8–14
pairs, 61:59
Pakistan, ceramics and ceramists, 49:90
paperclay, 18:81–5; 54:69–71
Parcours Céramique Carougeois, 1997 (Switzerland), 35:90–2
Pascoe, Joe, 5:56–7; 35:83 patron, role of the, 7:24–5; 31:35
Peachblow Pottery (USA), 9:60
Penrith Regional Art Museum (Australia), 53:79–80
Percival David Foundation (London), 36:25
Perth Potters Club, 8:63
Philippines, ceramic sculpture, 28:93–4
photography of ceramics, 1:36–40; 8:66; 33:66–7
Pirlangimpi Pottery (Australia), 20:70
place, 58:17–24
see also environment; landscape
Place • Product (1994), 22:39–43
Place and Identity: Contemporary South Australian Ceramics at the Millennial Edge (2000), 41:94–7
plastic shrink-free clay, 5:40
Plate Project, The, 18:77–80
platters, 6:54–5
commemorative, 40:33–40
poetry and ceramics, 62:82–6; 63:30–3
Poland, ceramics and ceramists, 13:71–2; 28:77
politics and ceramics, 35:97, 99; 36:64–5, 67; 43:6–11; 51:23–5
see also social and political commentary
Pond Farm (USA), 61:79
Pondicherry pottery, 64:35–7
Pop Art, 21:16; 25:4–5; 61:21; 65:52–6
porcelain, 21:3–9; 23:74–6; 23:96–7; 24:50–2; 24:66–7; 24:74–7; 25:80–2; 27:76–7; 28:3–7; 30:99–101.
32:63–6; 33:41–3; 33:66–7; 35:3–6; 35:42; 35:101; 37:17–20; 38:4; 38:80–3; 40:23–5.
42:17–19; 44:24–5; 44:28.
53:3–7; 53:17–20; 53:21–3; 53:61–5; 53:90–5; 54:9–11; 54:44–6; 55:13–17; 57:24–7; 57:67–9; 57:70–3; 57:86–8; 57:89–92; 57:89–92.
60:9–12; 60:50–3; 60:83; 61:73–5; 61:106; 62:87–9; 62:93–6; 63:3–8; 63:23–5; 63:37–9; 63:43–6; 64:80–6; 65:3–8; 65:47–9; 65:66–9.
blue and white, 27:63–5; 64: 32–4; 65:70–1
koyo (Korean), 56:8
fiberglass-reinfoced, 62:20–4
Porcelyne Fles, De see De Porcelyne Fles (Netherlands)
Portage Ceramic Awards (New Zealand) (2001), 48:73–5
portraits, ceramic, 30:88–9; 57:63–6; 59:10–12
Portugal
ceramics and ceramists, 28:99–101; 40:69–72
ceramic sculpture, 41:31–2; 41:76–7
postindustrial ceramics, 46:35–40; 54:38–40
Postmodernism, 30:3–9; 48:100; 49:20–4; 50:34; 59:85–7; 62:28–32
Poterie du Don, La (France); 44:95–7
Pots Presented (USA), 48:23–5
Potters Guild of South Australia, 8:60; 15:81
Potters’ Society of South Australia, 3:49–51
Present of Spanish Ceramics (1990), 4:13–17
printed surfaces on ceramics, 38:48–50
see also decoration
production wares, 1:8–11; 1:64–6; 5:40; 5:88; 6:17–20; 6:57–8; 8:22–4; 8:68–71; 8:87–8; 9:31.
11:51–3; 12:13–14; 12:47, 48; 12:57; 13:29–30; 14:85; 18:7; 18:19–20.
32:83–4; 36:74–5.
64:35–7.
profane ceramics, 59:100–2
public space artworks, 1:57–9; 3:57; 3:58; 7:81–4; 7:85–7; 30:16–19; 36:21–3; 48:86–7; 51:46–9; 65:104–5
see also installations; murals
Puerto Rico, ceramic sculpture, 65:28–30
Punch’ong pottery (Korea), 18:13–16; 20:75–80; 41:6–10; 44–24–5; 64:87–92
Puerto Rico, ceramics and ceramists, 43:69–73
Pure and Salted (1996), 27:103
Q
quality in ceramics, 6:62–5; 60:64, 66–7Queensbury Hunt (UK), 3:67–8
Queensland Art Gallery (Australia), 5:77–8
Queensland College of Art (Australia), 6:54; 6:58; 11:51–3
Queensland Potters’ Association (Australia), 11:52
Questions of Medium, Origin, and Content (symposium, 1997), 34:63–7
quilts and ceramics, 36:52–3
R
raku see firing
Rascal Ware Pottery group (USA), 65:109
ready-mades, 36:29–30; 61:24; 61:95–7
Recent Work by Alan Peascod (1992), 9:3–6
receptacles see containers; vessels
Red Deer College (Canada), 20:86–8
referencing in ceramics, 53:24–6
Relative Memories (1997), 30:96–8
relief decoration, 35:16–17
religion and ceramics, 62:93–6; 62:101–2
repetition and profusion, 57:12–14; 63:9–12
see also multiples; trompe l’oeil
representational ceramics, 21:22–5
Rhythm and Breath: Revealing the Invisible (2005), 62:69–71
Ripples: Marguerite Wildenhain and her Pond Farm Students (2002), 50:57–60
ritual in ceramics, 62:72–4
Röhmild Symposiums (GDR), 35:50
Röhsska Museum for Design and Applied Art (Gothenburg, Sweden), 62:23
Romania, ceramics and ceramists, 50:18–20
Rosenthal (Germany), 4:11; 45:22
Rosenthal Studio Line, 3:68
Royal Copenhagen (Denmark), 18:4–6
Royal Danish Porcelain Factory, 45:75
Royal Doulton (UK), 17:15–18
Royal Melbourne Institute of Technology (Australia), 11:60–3
Royal Worcester (UK), 18:4, 6, 7
Russia
ceramics and ceramists, 8:16–18; 9:19–21; 10:61–3; 11:46; 44:84–5
ceramic sculpture, 3:35–7; 65:34–6
S
Sacred Fire (Feu Sacré) (2000), 44:60–5
Salty Dog studio (USA), 20:19, 20
Salzbrandpreis ( Germany), 14:77–9
Sam Mui Kuang Pottery Works (Singapore), 17:50–3
San Angelo National Ceramic Competition 1998 (USA), 36:96–8
sanggam technique, 33:54–8
Sango Kausga Inc. (Japan), 5:38
Scandinavia
ceramics and ceramists, 36:64–8
influence of, 6:3
see also Denmark; Finland; Iceland; Norway; Sweden
School of Mines and Industries, Ballarat (Australia), 17:68–70
science and ceramics, 4:84–8
science as a theme in ceramics, 65:14–21
Scotland
ceramics and ceramists, 25:44–7; 28:89–92; 60:9–12; 62:7–10; 64:29–31; 65:3–8
ceramic sculpture, 57:18–20
screen printing, 8:22–6; 9:46–7; 36:21–3; 36:53
Scripps College (USA), 4:46–8
Annual Exhibition (2002), 47:56–62
Annual Exhibition (2003), 51:88–91
sculpture, ceramic, 23:77–81; 27:56–9; 51:3–8; 51:38–41; 55:91–3; 56:45–8; 63:9–12
architectural, 30:102–3; 45:90–2; 56:10–14
Argentina, 30:102–3; 45:90–2
Australia, 1:1–7; 2:86–9; 3:19–22; 3:23–8; 3:29–32; 5:3–7; 5:23–7; 5:58; 5:62–3; 5:90–2; 7:19–20; 7:34–5; 9:31–4.
10:59–60; 12:90–1; 13:78; 15:47–9; 15:60–2; 17:43–4; 18:42–5; 19:74–5.
20:96–7; 21:29–32; 21:55–6; 21:66–8; 21:88–94; 22:48–50; 22:86–90; 23:82–3; 23:87; 24:34–6; 24:45–7; 24:83–4; 28:68–9; 28:82–4.
30:13–15; 30:16–19; 30:72–5; .33:86–7; 33:91–4; 34:34–6; 34:78–9; 36:43–5; 37:37–9; 37:64–6; 38:57–8; 38:59–60; 38:61–2; 38:84–7; 39:49–51; 39:78–80.
41:25–6; 41:44–7; 42:91–5; 43:31–2; 44:7–10; 44:62–3; 45:33–40; 45:44–6; 48:88–9; 49:93–5.
50:69–72; 52:97–9; 52:93–6; 53:47–9; 54:50–3; 54:69–71; 55:44–7; 55:48–51; 55:63–6; 55:70–1; 58:28–30; 58:31–3; 58:44–6.
62:11–15; 63:43–6.
Austria, 55:85–7; 58:7–9; 61:76–7
Belgium, 8:3–6; 21:51–4; 22:80–1; 23:53–5; 39:42–3; 43:39–41
Brazil, 19:47–8
Canada, 8:25–30; 10:3–9; 11:67–9; 14:41–4; 17:78–9; 22:65–9; 23:16–18; 26:46–52; 27:48–50; 39:8, 9–10; 45:96–8; 46:72–9; 49:17–19; 51:26–9; 52:80–2; 56:10–14; 56:49–51; 56:58–60; 56:70–3; 60:54–6
Chile, 40:83; 63:50–2
China, 28:93–4; 36:4–5; 38:41–3; 40:81–2; 43:90–2; 46:10–13; 53:57–60; 55:34–9; 56:79–82
Czech Republic, 16:15–21; 21:3–9; 22:70–3; 32:41–5; 37:46–9
Denmark, 12:33–6; 12:40–2; 34:91–5; 36:102–3; 50:14–17; 60:19–22
Estonia, 33:66–7; 59:77–9
Finland, 22:62–4; 43:101–2; 63:61–3
France, 22:93–6; 24:42–4; 25:83–7; 31:47–9; 38:24–7; 38:54–6; 43:33–5; 45:13–17; 46:32–4; 49:25–9; 54:12–16; 61:11–14; 62:75–7; 63:15–18
Germany, 4:10–12; 17:59–62; 21:79–82; 22:77–81; 26:26–8; 34:10–15; 34:25–9; 39:3–5; 43:77–8; 51:78–80; 61:76–7; 62:104–5
Greece, 22:82–5
Hungary, 10:49–53; 12:7–11; 12:58–9; 49:96–7; 57:70–3
Iceland, 4:18–23
India, 26:10–13; 64:36, 37
Indonesia, 24:80–2
Ireland, 50:43–7
Italy, 2:18–21; 4:29–31; 21:10–14; 22:12–14; 22:86–90; 23:47–9; 27:71–3; 28:63–6; 28:67; 31:40–3; 41:18–21; 49:8–11; 50:54–6
Jamaica, 33:47–50
Japan, 3:38–40; 4:61–4; 5:9–13; 8:33–7.22:15–18; 22:19–22; 24:13–15; 25:16–17; 25:27–30; 25:67–70; 25:71–3; 25:88–90; 26:90–3; 28:93–4. 31:19–23; 34:31–2; 39:62–6; 42:33–6; 45:78–81; 49:71–3; 55:18–24; 57:3–6; 57:58: 58:47–8; 60:31–5; 61:53–4; 62:90–2Korea, 23:32–5; 24:22–5; 28:70–3; 33:59–60; 44:11–13; 44:46–9; 46:86–7; 63:3–8
Latvia, 6:3–6; 8:13–15; 59:77–9
Lithuania, 59:77–9
Mexico, 63:58–60
Netherlands, the, 18:28–31; 27:3–9; 31:10–14; 33:77–9; 36:3–5; 37:91–3; 38:80–3; 40:44–7; 42:17–19; 46:88–91; 53:21–3; 61:98–9; 63:13–14
New Zealand, 4:24–8; 23:71–3; 31:69–71; 35:60–3; 51:54–6; 54:30–4; 54:63–6
Norway, 4:32–3
Philippines, 28:93–4
Portugal, 41:31–2; 41:76–7
Puerto Rico, 65:28–30
Russia, 3:35–7
Scotland, 57:18–20
Serbia, 55:67–9
Singapore, 26:86–7; 27:82–5
Slovakia, 18:8–11
South Africa, 61:66–9
Spain, 18:21–3; 22:32–8; 26:20–5; 34:3–9; 42:30–2; 43:67–8; 45:44–6; 46:41–5; 47:90–3; 49:45–7; 52:83–6; 61:53–4
Switzerland, 14:16–19; 16:45–9; 22:19–22; 31:29–32; 41:33–5; 56:64–6
Taiwan, 28:29–32; 45:52–4; 51:24–6; 51:54–6; 58:38–9; 60:54–6
Turkey, 54:67–8
UK, 4:34–7; 7:21–3; 7:26–30.
16:22–5; 16:50–2 17:3–6.
21:19–21; 24:3–6; 24:57–8; 26:71–3.
30:64–6; 32:74–7; 36:3–4; 38:3–6; 39:26–9; 39:94–5.
46:25–31; 46:63–6; 46:67–71.
50:48–9; 51:13–15; 51:19–23; 52:11–15; 53:61–5; 56:90–2; 58:64–6; 59:70–3.
61:87–9; 62:12–19; 62:72–4; 62:93–6.
USA, 3:85–8; 4:38–40; 5:18–22; 5:36–41; 6:30–3; 7:31–3; 7:36–7; 7:38–40.
10:22–6; 10:54–8; 11:3–7; 12:3–6; 12:27–32; 12:37–9; 12:53–5; 12:56–7; 13:48–52; 15:15–19; 15:50–2; 15:75–6; 18:24–7; 18:51–3; 19:25–8; 19:41–6; 19:49–52.
20:32–6; 20:53–4; 20:59–64; 20:65–7; 20:82–3; 21:15–18; 21:38–41, 21:72–4; 22:29–31; 22:48–50; 22:52–4; 23:19–25; 23:30; 23:50–2; 23:67–70; 23:71–3; 24:53–6; 24:62–5; 26:10–13; 26:46–52; 27:22–6; 28:3–7; 28:8–11; 28:20–3; 28:58–62; 28:80–1.
30:49–51; 30:52–4; 30:92–3; 30:94–5; 30:96–8; 31:15–18; 31:50–4; 31:62–3; 31:66–8; 31:76–81; 32:18–23; 32:67–9; 32:70–3; 32:78–81; 33:26–9; 33:30–2; 33:59–60; 33:72–3; 34:16–18; 35:14–15; 35:44–8; 35:56–9; 35:93–5; 36:68–70; 37:30–2; 37:59–63; 37:76–9; 38:19–23; 38:67–8; 38:69–70; 38:73–7; 38:97–9; 39:70–3.
40:16–19; 40:48–51; 40:52–6; 40:57–9; 41:27–30; 41:36–8; 41:42–3; 41:62–6; 41:76–7; 41:78–82; 41:83–7; 42:14–16; 42:22–5; 42:48–51; 42:84–6; 43:6–11; 43:26–30; 43:36–8; 43:74–6; 43:79–81; 44:26–32; 44:79–81; 44:82–3; 45:8–12; 45:18–20; 46:46–51; 46:60–3; 46:80–2; 46:83–5; 47:3–6; 47:17–22; 47:44–6; 47:47–9; 47:56–62; 47:68–71; 48:3–8; 48:14–15; 48:44–7; 49:17–19; 49:41–4; 49:48–50.
50:18–20; 50:57–60; 50:67–8; 50:98–9; 51:15–18; 51:32–4; 51:50–3; 51:57–9; 51:60–1; 51:74–7; 52:16–20; 52:30–2; 52:67–9; 52:91–2; 53:8–11; 53:24–6; 53:27–9; 53:30–2; 53:33–5; 53:81–3; 54:47–51; 54:52–4; 54:58–60; 54:61–2; 54:77–80; 54:100–1; 55:8–12; 55:18–24; 55:59–62; 55:79–81; 56:15–19; 56:23–7; 56:28–32; 56:41–4; 56:55–7; 56:58–60; 56:61–3; 57:12–14; 57:15–17; 57:28–32; 57:41–4; 57:59–62; 57:63–6; 57:82–4; 58:3–6; 58:38–9; 58:57–9; 58:64–6; 58:71–4; 58:92–6; 59:10–17; 59:44–7; 59:48–51; 59:55–6; 59:63–5; 59:66–9; 59:80–1; 59:88–91; 59:95–6; 59:100–2.
60:13–15; 60:31–5; 60:26–40; 60:41–6; 60:81–4; 60:96–7; 61:20–5; 61:45–8; 61:55–7; 61:76–80; 62:41–5; 62:52–3; 62:78–81; 62:99–102; 63:23–5; 63:26–9; 63:30–3; 63:40–2; 63:47–9; 63:53–7; 63:78–9; 64:51–6.
Vietnam, 53:44–6
Wales, 58:34–7
Yugoslavia, 8:42–3; 26:86–7
Sculpture and Clay (1994), 37:49
Sculpture and Clay at the Chateau (Czechoslovakia, 2004), 64:46–50
Secret History of Clay, A (c. 2004), 58:77–8
Sense (2001), 43:52–4
Sensuous Proposals: four women working in clay, 46:26
Sensuous Surfaces (c.2000), 43:103
Seoul Contemporary Ceramic Art Biennial ‘91 (Korea), 6:45–7
Serbia
ceramics and ceramists, 54:72–6; 58:81–8
ceramic sculpture, 55:67–9
Seven Deadly Sins and the Four Last Things (1992), 9:7–12
Seven on Form (1992), 11:70–1
Sevres, Manufacture de (France), 30:34; 33:9, 11–12; 41:37–8; 60:44
sgraffito, 6:7–9; 7:36–7; 8:31; 19:83; 49:15
Shaker art, 55:5–7
Shepparton Art Gallery (Australia), 5:56–8; 9:82–5; 26:98–101; 35:81–3, 38:88–9
Shigaraki ceramic park (Japan), 3:76; 6:48–53; 65:41–3
Shigaraki ware (Japan), 16:27; 38:90–2; 39:52–6; 55:72–6
Shikokei ceramists (Japan), 20:50
Shino ceramics, 17:58
Shitokei school (Japan), 3:3–7
shoes in ceramics, 54:85–6
Sidney Myer Fund Australia Day Ceramics Awards, 5:56–8; 9:83; 26:98–101; 35:81, 82, 83; 38:88–9; 61:106; 63:47
Sidney Myer Fund International Ceramics Award (2004), 56:83–6
Silber (Diane and Igal) Collection of International Contemporary Ceramics, 31:33–9
silk-screening see screen printing
Singapore, ceramics and ceramists, 15:78–9; 17:50–3; 26:86–7; 27:82–5
Sitka Center for Art and Ecology (USA), 1:12–14; 51:4–6
Six Californian Artists (1995), 41:74–5
skill, importance of, 16:70–2
slab-built work, 32:63–6; 38:24–7
slip
on paper, 32:91–3
coloured, 33:56–8, 34:38
slip-trailing, 8:31
slip-casting, 5:10–12; 23:74–6; 33:70–1; 36:22–3; 38:60; 53:63–5; 60:16–18; 60:105–6; 63:3–8
Slipped Traditions (1994), 36:52
slipware, 11:10; 34:37–9
English, 46:46–51
Slovakia, ceramics of, 18:8–11
Slovenia, ceramics and ceramists, 45:66–7
Snell, Jonathon Bancroft, 48:78, 81
S.O.S. (Sources of Support) (1999), 36:53
social and political commentary, 49:48–50; 55:91–4; 56:41–4; 61:33–5; 63:58–60; 63:61–3; 64:11–15; 64:78–9
social realism, 63:81, 82
Sodeisha ceramists (Japan), 4:61; 14:21; 20:50; 20:93; 25:81–2; 63:7; 64:60
sound and ceramics, 50:42; 55:63–6
South Africa
ceramics and ceramists, 14:61–4; 45:60–2; 55:95–7; 57:86–8; 57:96–7; 61:41–4
ceramic sculpture, 61:66–9
installations, 61:66–9
South America, influence of, 1:3–7; 40:49–51
see also Argentina; Brazil; Chile
South Australian Ceramic Awards, 61:81
2001, 49:98–9
2005, 61:81–3
South Korea see Korea
space, and ceramics, 22:44–7
Space, Form and Fire (2002), 47:33–40
Spain
ceramics and ceramists, 4:13–17; 11:37–8; 12:78–9; 15:9–14; 18:21–3; 25:18–22; 30:62–3; 34:56–8; 38:93–6; 39:30–2; 45:3–7; 48:59–61; 53:36–9
ceramic sculpture, 18:21–3; 22:32–8; 26:20–5; 34:3–9; 42:30–2; 43:67–8; 45:44–6; 46:41–5; 47:90–3; 49:45–7; 52: 83–6; 61:53–4
Special Pots for Special Occasions (1998), 37:86–90
Spinning Tales: Contemporary Narrative Ceramics (1999), 40:66–8
Spirit of the Clay, The (1999–2000), 42:40–1
Spiritual Maps (1995), 22:86–90
Spring Adventure, A (Gulgong, Australia, 2006), 65:98–101
Spruit, Mieke, 42:96–101
Standen Bowl (UK), 54:87–8
Starkenburg Ceramics (Germany), 9:23Stedelijk Museum (Amsterdam), 44:33–40
Steinetz, Ami, 37:42–5
Stevens, Helen, 62:65–8
still life and tableaux, 32:52–62; 32:72–3; 33:20–1; 40:3–7; 41:42–3; 41:44–7; 43:87–9; 44:8–10; 44:100–1; 47:23–6; 48:9–13; 52:49–56; 59:12–14; 59:48–51; 60:92–5; 61:81, 82–3; 62:3–6; 62:97–8
see also installations and assemblages
stoneware, 2:26–30; 2:38; 3:60–2; 6:16–20; 11:33–6; 14:9–12; 35:19–23; 35:84–6; 60:88–91; 63:15–18; 63:34–6; 65:74–6
Struktuur 68 (Netherlands), 45:73–4
Struycken, Peter, 35:7, 9
studio pottery, 2:35–9; 6:60; 30:90–1; 32:50–1; 47:83–4; 53:96–8; 53:102–3
study of ceramics, 7:69–72
Sturt Craft Centre (Australia), 25:75–9
Sturt Craft Centre Pottery (Australia), 58:49–56
Sturt Pottery (Australia), 9:15; 11:81; 13:62–5
SuperObject, 21:16,17
super-realism see trompe l’oeil
Surrealism, 21:16; 57:41–4; 65:52–6
Sweden
awards, 62:22–3
ceramics and ceramists, 4:41–2; 36:63, 67; 38:103; 51:46–9; 65:41–3
ceramic sculpture, 55:98–102
Switzerland
ceramics and ceramists, 3:8–12; 3:58; 11:24–8; 11:73–5; 14:16–19; 15:94–6; 16:45–9, 17:79–80; 35:90–2; 44:60–5; 65:37–40; 65:91–4
ceramic sculpture, 14:16–19; 16:45–9; 22:19–22; 31:29–32; 41:33–5; 56:64–6
installations, 57:48–51; 61:95–7; 62:97–8
symbolism, 61:36–7
Symmetry of Memory, The (1994), 20:96–7
T
tableware, 21:76–7; 27:10–13; 33:79; 34:31–3; 42:106–7; 50:88–9; 53:3–7; 53:19–20; 54:27–9; 56:33–40; 58:89–91; 60:27–8; 61:58–9; 61:73–5; 63:72
see also cups; domestic ware; function and functional wares; teapots; utility; vessels
Taipei International Exhibition of Ceramics, 1994 (Taiwan), 17:19–21
Taiwan
ceramics and ceramists, 15:36–9; 17:19–21; 17:63–6; 28:15–19; 28:29–32; 32:46–9; 34:63–7; 42:14–16; 45:99–100
ceramic sculpture, 28:29–32; 45:52–4; 51:24–6; 51:54–6; 58:38–9; 60:54–6
Tanzania, traditional ceramics, 45:93–5
Tasmania – A Designer’s Environment, 6:15
taste, 8:64–7; 9:3–6
teabowls, 43:3–5; 57:6–11; 58:49–52, 55
see also Japan, tea ceremony
tea ceremony see Japan
Teapot, The (1990), 2:52–5
teapots, 2:52–5; 10:91–2; 24:16–21: 24:48–9; 31:7, 8–9; 31:16, 17, 18; 32:60, 61; 32:74, 77; 39:33–6; 39:88, 89; 42:12; 44:91; 45:101; 47:18–21; 47:65–7; 47:68–71; 48:100; 49:30, 32; 53:84–7; 61:41–4; 62:68; 62:87–9
see also domestic ware; functional wares; tableware; utility
technique
coiled, 39:48; 50:90–2; 57:58; 63:34–6; 65:41–3
handbuilt, 60:105–6; 61:45–8; 62:93–6
jigger and jolley, 14:85
mixed, 57:60–1
moulded, 25:64–6
pinched, 46:3–5
slab-built, 32:63–6; 38:24–7
technology, view of, 55:59–62
Temples of the Mind (1994), 22:86–90
Tempus Fugit (1999), 36:81
tenmoku tea bowls, 2:46–7; 32:9
see also Japan
Tennessee Clay Ways (1999), 41:56–91
Terra Natura (India), 64:93–6
TerraPotta (Australia), 2:71–3; 3:47–8
terra sigillata, 4:58–60; 16:91; 30:67–71
terrazzo, clay, 46:26–8
Terrazzo Transcendence of Everyday Urbanity, 5:62–3
terres vernisses technique, 34:37–7
Terrybaun Pottery (Ireland), 10:30
Texas Clay II (exhibition 1993), 17:80–3
textiles and ceramics, 18:63–6; 36:51–4; 61:63–5
Thailand
ceramics and ceramists, 30:72–4; 62:46–8; 65:70–1
influence of, 34:19–21
Thermal Shock (Australia), 55:44–7
Thermal Shock (1992), 11:64–6; 36:80–1
Thermal Shock II (1994), 36:81
Thermal Shockers (Australia), 36:78–81
This Tenuous Earth (1990), 4:68–9
Thomas China (UK), 3:67
Three of a Kind (1999), 40:70–3
Tichelaar Pottery (Netherlands), 2:76–81
tiles, 18:19–20; 22:78–9; 28:26, 28; 28:100–1; 32:88–90; 34:51–4; 34:92–4; 36:22–3; 36:55–9; 38:76; 45:51; 48:86–7; 51:46–9; 58:31–3; 58:66
fumie (trampled on), 57:21–3
Timock Survey, The (1998), 38:7–10
Tiwi Pottery (Australia), 10:46; 20:68–70
Tommerup brick factory (Denmark), artists in residence at, 4:21–3
Tommerup Tileworks (Denmark), 34:91–5
Tomsk Ceramics Factory (Russia), 8:16–18
tools, 16:60–5
Toronto Potters (Canada), 56:70–3
Torsten and Wanja Söderberg Nordic Design Prize (Sweden), 62:22–3
Toward the Future (1993), 14:91–2
Traces from the Lowlands – Tracks into the Future (2001), 44:33–40
traditional ceramics, and influence of, 1:73–4; 2:31–3; 2:76–81; 4:3–9; 7:42–4; 7:88–9; 9:14–15; 11:76–8; 13:62; 17:50–3; 18:13–16; 19:72–3.
35:70–1, 73; 37:54–8; 37:62; 38:41–3; 39:19–23; 39:24–5; 39:30–2.
43:55–60; 45:93–5; 47:90–3.
63:74–7; 64:68–70.
traditional methods, application of, 11:27–8; 11:33–6; 61:46
Transformations: The Language of Craft (2005–06), 62:106
transparency, 38:80–3; 62:20–4
trays, 48:23–5
Triennale de la Porcelaine, Tryon (France), 33:83–5
Triennial of Small Ceramics, 3rd (1990), 3:63–5
trompe l’oeil, 40:48–51; 56:15–19; 58:3–6; 59:44–7; 59:48–51
Tropical Delft: Connie Hoedt (1999), 40:96–8
Tulipmania (1994), 18:90–2
tulip vases, 26:14–19; 36:74–5, 76; 40:96, 98
Turbulent Vessel, The (1998), 35:7–13
Turkey
ceramics and ceramists, 7:42–4; 7:88–9; 9:61–2; 24:95–7; 42:37–9; 49:62–5
ceramic sculpture, 54:67–8
Iznic ceramics 62:95, 962
Culturas, un Diálogo / 2 Kulturen, ein Dialog (c. 2003), 53:36–9
