From the rise of studio pottery in the 1910s to a number of new commissions by a young generation of UK-based artists, That Continuous Thing traces the changing shape of theceramics studio over the last century, from the radical to the apparently traditional. Opening with exchange between Japan and the UK in 1910s and 1920s through the emergence of studio potters such as Bernard Leach, Shoji Hamada and Dora Billington, the book leads onto the Californian 'clay revolution' of the 1950s and 1960s, with sculptures by the pioneering artist Voulkos. The book also includes works by contemporary artists made over the last three years at Angell's London-based Troy Town Art Pottery, which has been described as 'a radical and psychedelic workshop for artists'.
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Sam Thorne is director at Nottingham Contemporary.Sara Matson is an exhibitions and displays curator at Tate St Ives."
From the rise of studio pottery in the 1910s to a number of new commissions by a young generation of UK-based artists, That Continuous Thing traces the changing shape of theceramics studio over the last century, from the radical to the apparently traditional. Opening with exchange between Japan and the UK in 1910s and 1920s through the emergence of studio potters such as Bernard Leach, Shoji Hamada and Dora Billington, the book leads onto the Californian 'clay revolution' of the 1950s and 1960s, with sculptures by the pioneering artist Voulkos. The book also includes works by contemporary artists made over the last three years at Angell's London-based Troy Town Art Pottery, which has been described as 'a radical and psychedelic workshop for artists'.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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