END OF THE SEMESTER REFLECTION

READ THE INFORMATION BELOW ABOUT REFLECTING ON YOUR SEMESTER - AND RESPOND TO TWO OF THE FOLLOWING PROMPTS BY FRIDAY, JUNE 1st AT 6:00 PM. 

MAKE SURE YOUR NAME IS IN YOUR RESPONSE.

PLEASE MAKE SURE THAT YOUR RESPONSES ARE EACH AT LEAST 5 SENTENCES LONG AND ANSWER ALL THE BULLET-POINT QUESTIONS TO RECEIVE FULL CREDIT! 

REMEMBER - THIS IS A HOMEWORK ASSIGNMENT - DO NOT USE TEXT LANGUAGE: CAPITALIZE, USE PUNCTUATION AND CHECK YOUR SPELLING!!

** REMEMBER - JUNE 1st  AT 6pm IS THE LAST DATE TO TURN IN ANY LATE HOMEWORK ASSIGNMENTS!! 


PROMPT #1

• Go back over the blog postings from this Marking Period.
• Look at the artists and their work.
• Choose one artist who you appreciate most.
• Discuss what you appreciate most about this artist's work.
• Describe one piece of artwork in great detail - describe size, color, shapes, lines, pattern, texture and areas of contrast in the piece of pottery or sculpture.

PROMPT #2

• Think back over the pottery and sculpture all the students in the class created this Semester.
• Describe the piece of pottery or sculpture that you liked most - describe size, color, shapes, lines, pattern, texture and areas of contrast on this piece of pottery/sculpture.
• Discuss what you like most about this piece of pottery/sculpture.
• If you could change one thing on this piece of pottery/sculpture, what change would you suggest to the artist?

PROMPT #3

• Think about the pieces of pottery and sculpture that you have created this Semester.
• Create titles for each piece of pottery and sculpture.
• Explain why you have chosen these titles for each piece of pottery and sculpture. Be very specific!
• Remember to write a MINIMUM of 5 sentences!!

PROMPT #4

• Think about the pieces of pottery and sculpture that you have created this Semester.
• Which piece did you think was the most successful? What did you like best about this piece? Be very, very specific!
• Which piece did you think was least successful? What would you like to improve on this piece of pottery if you had the chance to do it over?
• If you could create one more piece of pottery in the Primitivel Ceramics class, what would you create?
• Describe what this piece would look like in great detail.

THERE IS NO HOMEWORK ASSIGNMENT THIS WEEK DUE TO CELEBRATION OF THE ARTS (if you're behind in turning in your work you may want to consider getting caught up....)

JUDITH MOTZKIN

READ THE INFORMATION BELOW ABOUT JUDITH MOTZKIN AND RESPOND TO TWO OF THE FOLLOWING PROMPTS BY FRIDAY, MAY 18th AT 6:00 PM.

MAKE SURE YOUR NAME IS IN YOUR RESPONSE.

PLEASE MAKE SURE THAT YOUR RESPONSES ARE EACH AT LEAST 5 SENTENCES LONG AND ANSWER ALL THE BULLET-POINT QUESTIONS TO RECEIVE FULL CREDIT!

REMEMBER - THIS IS A HOMEWORK ASSIGNMENT - DO NOT USE TEXT LANGUAGE: CAPITALIZE, USE PUNCTUATION AND CHECK YOUR SPELLING!!

 

 

JUDITH MOTZKIN

http://www.motzkin.com/

ARTIST STATEMENT

“In developing this web based portfolio of my work, I take note of what has been important to me over time. I notice the themes--loss, stones, beaches, gardens, serendipity--I wonder at the connections. I am aware that the process of creating this web site is reflective of my love of learning new media. It is also reflective of my stubborn independent nature, for better or worse.

There is a Zen maxim: "First develop an infallible technique and then put yourself at the mercy of inspiration." It doesn't always work that way. Often the inspiration is the product of fallible technique. Years of painting pots with the accidents of flame has taught me that. It is important to search for the inspiration in the accident.

What comes out of the kiln, although a direct result of what goes in, is always a mystery. It is this painting with fire that brings the work to life. By setting the circumstances for accidents and responding to the information revealed through the process, I have developed some control and refinement of the surface possibilities. Still the fire surprises, amazes and repeatedly teaches me to leave expectations behind. It is this relationship with fire that inspires me as I “paint” each piece with this palette of sawdust and straw, setting the circumstances for a wash of smoke and flame to paint the final coat. I hope for results that express the random beauty of nature. Unpredictable and always new."

From: http://www.motzkin.com/statement.htm

PROMPT #1

• Look at the artwork of Judith Motzkin and read her artist statement.
• What do you see in her pottery that is a direct reflection of her statement? Describe a specific piece of pottery that, for you, reflects her intentions.
• Motzkin says, “It is important to search for the inspiration in the accident.” When looking at her pottery – without knowing the unpredictability of the firing technique – would you know that so much is “accidental”?
• Does knowing the process and the perils of the process make you appreciate her work more? Why or why not?

PROMPT #2

• Motzkin creates vessels, funerary urns and breadpots – all out of clay.
• Go to her gallery and look at the different pieces: http://www.motzkin.com/
• One is a final resting place for someone who was once living and the other is for the creation of that which keeps us alive.
• What are your thoughts about creating both funerary urns and breadpots?
• What questions would you want to ask Judith Motzkin about the pottery she creates?

PROMPT #3

·         Go to Motzkin’s website and look at her mixed media artwork and digital artwork as well as her pottery: http://www.motzkin.com/mixed_media.html  and http://www.motzkin.com/digital_images.htm .

·         What similarities do you see between her ceramic work and her mixed media or artwork?

·         What similarities do you see between her digital artwork and her ceramic work?

·         What are your thoughts about an artist who uses so many different mediums [a medium is a type of material – for example, clay is a medium, oil paint is a medium, etc.]?

·         If you were a professional artist, do you think you would be drawn to create in one medium exclusively or would you do as Motzkin does? Explain your thinking.

PROMPT #4

• Judith Motzkin creates breadpots out of clay. Bread is one of the fundamental foods for many cultures and the baking of bread arose when civilizations began to use fire and clay to create ovens and breadpots.
• Go to Motzkin’s breadpot webpage and look at her work: http://www.motzkin.com/breadpots.htm and http://www.breadpots.com/#
• If you were going to create a breadpot for your own use of to give to someone, what would it look like? Describe it in detail – size, color, type of clay, decoration, and texture.

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OAXACAN BLACK POTTERY

READ THE INFORMATION BELOW ABOUT OAXACAN BLACK POTTERY - AND RESPOND TO TWO OF THE FOLLOWING PROMPTS BY FRIDAY, MAY 11^th AT 6:00 PM.

MAKE SURE YOUR NAME IS IN YOUR RESPONSE.

PLEASE MAKE SURE THAT YOUR RESPONSES ARE EACH AT LEAST 5 SENTENCES LONG AND ANSWER ALL THE BULLET-POINT QUESTIONS TO RECEIVE FULL CREDIT!

REMEMBER - THIS IS A HOMEWORK ASSIGNMENT - DO NOT USE TEXT LANGUAGE – CHECK YOUR SPELLING, GRAMMAR AND USE PROPER CAPITALIZATION!!

 

OAXACAN BLACK POTTERY

 

“The Dona Rosa studio is located in San Bartolo Coyotepec, in the state of Oaxaca, and is one of the most important pottery producing villages in the valley of Oaxaca, Mexico.  Oaxaca is a state in which the indigenous groups and many of their pre-hispanic and colonial cultural traditions persist. In the ceramic production within these communities, one can see the varied levels of technique, style and use in the utilitarian, ceremonial and ornamental pottery for which is made.

Dona Rosa Real de Nieto stood out as a unique artisan in Coyotepec for many years.  Her studio's work has received numerous awards and is included in collections world-wide including those of Rockefeller and the Smithsonian Institute in the United States.

The technique she developed to give the black pottery its trademark sheen is the burnishing of the pot with quartz.  No glazes are used. 

She worked in her shop demonstrating her abilities to those who came to visit until the day of her death in 1980.  Her son and grandchildren continue the family traditions.

The potters of Coyotepec continue to use their traditional method of turning pots without a wheel.  The technique uses two concave clay plates, one upside down supporting the other. This method is of pre-hispanic inheritance, the pieces are molded on this device. The entire process to develop a finished piece takes 20 to 30 days and goes from molding to decoration, to slow drying in closed rooms, polishing with a quartz stone and finally to baking where the pieces acquire their notable black color.

The pottery production of Coyotepec is mostly decorative because it will not hold water unless it is double fired.  Double firing produces a grayish color, which are often used to hold mezcal, the local drink.  In addition to pots, other works produced locally include animal figures, candelabras and a great variety other decorative items.” 

From: http://www.farflungarts.com/Guide%20to%20Mexican%20Arts/Dona%20Rosa%20black%20pottery.htm

PROMPT #1

• Read the information above about the black pottery of Oaxaca
• If you were going to create a piece of pottery or sculpture using Dona Rosa’s techniques, what type of piece would you create?
• Describe the piece of pottery or sculpture in great detail – including where you would carve out holes in the piece.
• Be specific in your discussion of shape, size, and texture.

PROMPT #2

• Imagine that you are a Oaxacan potter/sculptor living in Mexico today and your family has a long tradition of creating this type of pottery and sculpture.
• People from all over the world visit this region to see this artwork made in the traditional manner of the Oaxacan people.
• Would you be interested in staying in your village/home to make pottery with your family, continue the traditions/skills passed down through generations and be guaranteed a certain income/stability or would you want to leave and explore new careers? Explain your thinking.

PROMPT #3

• Go to YouTube and watch the following videos:
• http://www.youtube.com/watch?v=NVd75eCQHkc
• http://www.youtube.com/watch?v=k77zLGPlr0g
• http://www.youtube.com/watch?v=gDwM1U_b6kU
• What are your thoughts about the process for creating these pieces of pottery?
• What similarities/differences do you notice about how we create our pottery in the Primitive Ceramics class?
• What questions do you have now that you have seen how the Oaxacans create their pottery?

PROMPT #4

• Think about your day and how many times you use a piece of pottery (plates, cups, mugs, pitchers, etc.).
• Imagine that before you could use these items, you had to make them for your family…..back in early times you couldn’t just run out to Target and buy a box of dishes…..
• Would you like to own/use potter that you have created in your home? Why or why not?
• What type of pottery (plates, mugs, pitchers, serving bowls, etc.) would you create for your everyday use? Describe them in detail – shape, size, color, designs, and textures.

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EMPEROR QIN SHIHUANG'S TERRACOTTA WARRIORS

READ THE INFORMATION BELOW ABOUT THE TERRACOTTA WARRIORS - AND RESPOND TO TWO OF THE FOLLOWING PROMPTS BY FRIDAY, MAY 4th AT 6:00 PM.

MAKE SURE YOUR NAME IS IN YOUR RESPONSE.

PLEASE MAKE SURE THAT YOUR RESPONSES ARE EACH AT LEAST 5 SENTENCES LONG AND ANSWER ALL THE BULLET-POINT QUESTIONS TO RECEIVE FULL CREDIT!

REMEMBER - THIS IS A HOMEWORK ASSIGNMENT - DO NOT USE TEXT LANGUAGE: CAPITALIZE, USE PUNCTUATION AND CHECK YOUR SPELLING!!

TERRACOTTA WARRIORS

“The Terracotta Warriors represent only a small portion of the eight thousand strong underground army buried in front of the Emperor Qin Shihuang's tomb (r. 221-207 BC) to defend him in the afterlife. The craftsmanship attested by each of the statues is as stupendous as the scale of the project. So who was the Emperor Qin Shihuang to merit such magnificence?

One of the most important rulers in Chinese history, this Emperor leaves a legacy as morally complicated as that of Peter the Great. For, like the Russian Tsar, he is as well-known for his contributions to the modern state as he is for sacrificing the lives of thousands of laborers to his visionary projects. Made King of the state of Qin at the age of thirteen, by the time he was thirty-eight he conquered the six neighboring states to unify China for the first time.

Although reviled for his tyranny, Qin Shihuang is also admired for many radical and insightful policies which subsequent dynasties employed. To synthesize seven separate states into one nation, he standardized a common script and established uniform measurement and monetary systems. For effective government, he codified a legal system and replaced hereditary rulers with a centrally appointed administrative system. To improve industrial productivity he encouraged agricultural reforms and constructed many roads. And in an effort to limit the inroads of barbarian tribes, he supervised the construction of a defense fortification along the northern frontier, the first Great Wall. Although China benefited from these policies, thousands of Chinese workers died in completing this far-reaching public works program.

700,000 forced laborers were sacrificed to construct his tomb which was begun as soon as he ascended the throne. All workers and childless concubines were interred with him to safeguard its secrets. According to Sima Qian's "The Historical Records" written a century later, heaven and earth are represented in the tomb's central chamber. The ceiling, inlaid with pearls, represents the starry heavens. The floor, made of stone, forms a map of the Chinese kingdom; a hundred rivers of mercury flow across it. And all manner of treasure is protected by deadly booby-traps.

The main tomb has still to be excavated - partly because archaeologists are still uncertain of its exact location. Often Emperors amassed huge burial mounds simply to divert robbers' attention from the true site of their tomb. So the artificial mound that today marks the Emperor's tomb does not necessarily indicate the location of its wondrous central chamber. However, because high mercury levels have recently been reported nearby, archaeologists think they may, at last, have discovered it. The Terracotta Warriors... form just one of the many barriers the ruthless Emperor employed to protect his tomb for eternity.

The limestone and marble Kouroi and Kourai of the Greek Late Archaic Period (535-480 BCE) refute the claim that the Terracotta Warriors were the first free-standing statues in the history of world art. This, though, does little to undermine the ingenuity of the Terracotta Warriors' design and manufacturing process. For whereas the Ancient Greeks meticulously carved individual statues out of stone, the Qin dynasty project held all the problems of production on a mass scale. Tens of thousands of individual human and animal statues were manufactured within a series of processes that began with the molding of solid legs.

It was by constructing each of the hollow statues upon solid legs that the Ancient Chinese craftsmen solved the perplexing problem of how to make a statue free-standing. Hollow heads, arms and legs, made of coiled earth, were joined together with strips of clay and set upon the solid legs. After this rough model was assembled, a fine clay slip was added, and details such as eyes, mouth, nose and details of dress were carved into the clay while it was still pliable. Additional pieces such as ears, beard and amour were modeled separately and attached, after which the whole figure was fired at a high temperature.”

From http://www.imperialtours.net/terracotta_warriors.htm

 

PROMPT #1

• Read the information above about the Terracotta Warriors (terracotta is simple reddish clay…often used for flowerpots today).
• What are your first thoughts after reading about Emperor Qin Shihuang?
• What do you imagine you would think if you were excavating the Emperor’s tomb and came across these sculptures?

PROMPT #2

• If you were a hugely wealthy emperor of your own country, how would you want to design your final resting place – your tomb?
• What would you want to commemorate your life and legacy as a leader?
• What types of materials would you use?
• Where would your tomb be located?

PROMPT #3

• “700,000 forced laborers were sacrificed to construct his tomb which was begun as soon as he ascended the throne. All workers and childless concubines were interred with him to safeguard its secrets.”
• If you were in charge of an exhibition of these beautiful pieces of sculpture, how would you balance the beauty of the sculptures with the horrible toll paid by the sculptors and their families?
• Write a paragraph that would be displayed with the sculptures in the exhibition that reflects this balance.

 

PROMPT #4

• Look at the sculpture by Suse Lowenstein – Dark Elegy - www.darkelegy103.com/. Lowenstein has created a large number of figures to deal with the grief in her life at the death of her son. Lowenstein created many figures – not thousands. However, there is a certain visual power in viewing a large number of full size human figures.
• If you were going to create a large number of figurative sculptures to commemorate the life of a person, what person would you choose?
• Why would you choose this person?
• What would the figures look like - size, color, texture, etc.?
• How many would you create?
• What would you want the overall emotional effect on the viewer to be?

 

RAKU

READ THE INFORMATION BELOW ABOUT RAKU POTTERY AND RESPOND TO TWO OF THE FOLLOWING PROMPTS BY FRIDAY, APRIL 27th AT 6:00 PM.

MAKE SURE YOUR NAME IS IN YOUR RESPONSE.

PLEASE MAKE SURE THAT YOUR RESPONSES ARE EACH AT LEAST 5 SENTENCES LONG AND ANSWER ALL THE BULLET-POINT QUESTIONS TO RECEIVE FULL CREDIT!

REMEMBER - THIS IS A HOMEWORK ASSIGNMENT - DO NOT USE TEXT LANGUAGE: CAPITALIZE, USE PUNCTUATION AND CHECK YOUR SPELLING!!

 

RAKU

"Raku pottery is created with a specific ceramic firing process that uses both fire and smoke to create unique patterns and designs. With raku pottery, the piece is first bisque fired. Then, it is glazed and undergoes a raku firing process. The raku firing process requires a special raku kiln that is fueled by propane and reaches temperatures of about 1800°F (about 982°C).

In order to complete the firing process, the raku pottery must remain in the kiln for approximately 30 minutes. The raku pottery is then removed from the kiln using specially designed raku tongs. While the raku pottery piece is still hot and glowing, it is placed inside a metal can full of combustible materials. The heat emitted from the raku pottery causes these materials to catch on fire.

After the materials inside the metal can catch on fire, a lid is placed over the can and the raku pottery is sealed inside. The raku pottery is capable of withstanding these high temperatures and the fire within the can because it is made from a special type of clay that is capable of withstanding thermal shock. Traditional pottery clays, on the other hand, would crack from the drastic temperature changes raku pottery undergoes.

As the fire consumes the oxygen within the can, it also draws the oxygen out of the raku pottery and its glaze. This process is called post fire reduction. It is the post fire reduction stage that creates the unique look of raku pottery. The resulting patterns and colors are unpredictable, as they are created through the natural process of oxygen removal.

After the raku pottery remains in the sealed metal can for about 15 minutes, it is removed and placed in a can of water. This freezes the patterns that were created during the post fire reduction stage. The amount of time a piece should remain in the cooling water largely depends on the piece and its size.

Because the process of creating raku pottery requires working with combustible materials and high heats, it is important to wear gloves, protective clothing, and eye protection at all times while creating a new piece."

from http://www.wisegeek.com/what-is-raku-pottery.htm  

PROMPT #1

• You will spend a significan amount of time creating your raku pot - designing the shape, wedging the clay, getting the walls the proper thickness, paddling the pot into shape, scraping the surface smooth, creating texture, etc.
• The raku process is one based upon unpredictability, and pots often crack (however, we've been able to fix most pots that crack) in the raku firing process. How would you feel if your pot cracked in the raku firing process?
• Raku glazes are also unpredictable - how comfortable are you with knowing that you never know exactly how the glazes will turn out?
• What other areas of your life have this kind of unpredictability? How do you deal with not knowing the exact outcome?

PROMPT #2

• When firing raku pots a lot of smoke is generated. This smoke will turn the unglazed areas of your pot a rich, smoky color. Again, the smoke patterns are unpredictable but are often incredibly beautiful.
• Will you be leaving parts of your pot unglazed to become affected by the smoke?
• Why or why not?
• If so, which parts of the pot will you be leaving unglazed?
• Some potters create what is called “naked raku” – they don’t glaze their pots at all – they simply let the smoke create the colors. Are you interested in using this method or would you like to work with glazes as well?

PROMPT #3

Creativity requires the courage to let go of certainties. - Erich Fromm

I am always doing that which I can not do, in order that I may learn how to do it. - Pablo Picasso

If you wait to do everything until you're sure it's right, you'll probably never do much of anything. - Win Borden

• What kind of risks have you taken with your artwork (either in this class or another class) so far?
• What have you tried that is new to you in this class and has given you unexpectedly good results?
• What have you tried that is new to you in this class and hasn't worked out? What did you learn from the experience?
• What do you think of a career (or hobby) in which so much is left to chance? Could you handle that kind of uncertainty or would you thrive on it?

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ED GRAY AND PIT-FIRED POTTERY

WELCOME TO THE 4th MARKING PERIOD!!!

READ THE INFORMATION BELOW ABOUT ED GRAY AND PIT-FIRED POTTERY - AND RESPOND TO TWO OF THE FOLLOWING PROMPTS BY FRIDAY, APRIL 20^th AT 6:00 PM.

MAKE SURE YOUR NAME IS IN YOUR RESPONSE.

PLEASE MAKE SURE THAT YOUR RESPONSES ARE EACH AT LEAST 5 SENTENCES LONG AND ANSWER ALL THE BULLET-POINT QUESTIONS TO RECEIVE FULL CREDIT!

REMEMBER - THIS IS A HOMEWORK ASSIGNMENT – CAPITALIZE, CHECK YOUR GRAMMAR AND YOUR SPELLING!!

ED GRAY (also known as Jikiwe)

“I create my art with a celebration, embracing cultural differences past and present. I weave all into a moving vortex, never to stop creating impressions and keeping focused on my visions.”

-Jikiwe (Ed Gray)

“Over the past forty-three years working in copper and more recently clay, Miskwabik/Ed Gray Studio has become a way of life, a way to express and share the teachings that were given to me as gifts to pass on to receptive ears.

I find my art and the people around me a major part of my life. The heartbeat of our world and all that it encompasses, balanced with seriousness and laughter, brings my life to full circle.
The Studio and The Cliffs are, for me, places to bring people together to share honor and respect for the ancestors.”

My studio is found in the historic Vertin Building in downtown Calumet [Michigan]. My ancestors are still very much a presence in the region. My grandmother, Big Wing, told me the history of my great grandfather, Golden Hawk, who worked the miskwabik, or copper, many years ago. As we follow the paths of our ancestors, we walk in their steps. My workshop “Footprints of the Ancestors” honors those whose paths have long lain on the earth and entwines them with those paths we make.

Ed Gray writes about his smoke fired pottery: “

Smoke firing could very well be described as the outcome of a pit firing. A way to get a different look, smoke firing gently caresses pots to create colors of soft whites and dark hues. Using various combustibles, such as paper, straw, hay, leaves, etc., many exciting patterns are created on the surface of the pots.

To prepare for a smoke firing I create a container above ground from layers of red bricks placed in a circle or square and as high as needed for the pots to be fired. The bricks are loosely spaced with about 1/16 inch between the horizontal bricks to allow for air intake. I wrap the pots with newspaper and place them in a single layer on top of a small bed of straw. Then the straw is ignited and when flaming, I put on a lid and allow it to smoke until cool. The smoke imprints itself upon the pots.”

From: http://www.edgraystudio.com/  

PROMPT #1

• Read the information above about Ed Gray/Jikiwe
• Look at his pottery on the right and go to his website: http://www.edgraystudio.com/.
• Choose the pot that you think most fully expresses his inspiration - as you interpret it - from what he wrote above.
• Describe how you think the pot you chose expresses his inspiration.

PROMPT #2

• Ed Gray uses nature and his Native American ancestors/culture as inspiration in his pottery.
• Compare his pottery to that of Steve Hansen: http://www.functionart.com/AM/Artists/HansenS/HansenSinventoryTEA.html
• What are the similarities between the pottery in terms of function, color, texture and shape?
• What are the differences between the pottery in terms of function, color, texture and shape?

PROMPT #3

• Google “Smoke Fired Pottery” or “Pit Fired Pottery” and find an interesting ceramic you like. You can also go to the Clay Art Web Guide to search for a ceramic artist who uses smoke or pit firing: http://vickihardin.com/links/index.htm
• Copy and paste the website of the artist into your comment.
• Introduce us to that artist – what is it you appreciate about the artist?
• What specific pieces of pottery do you like – and why?
• Finally, what did you learn that you did not know about and would like other to know about this process or the artist?

USING ADDITIONAL MATERIALS

READ THE INFORMATION BELOW ABOUT USING ADDITIONAL MATERIALS ON YOUR POTTERY AND RESPOND TO TWO OF THE FOLLOWING PROMPTS BY FRIDAY, APRIL 13^th AT 6:00 PM.

MAKE SURE YOUR NAME IS IN YOUR RESPONSE.

PLEASE MAKE SURE THAT YOUR RESPONSES ARE EACH AT LEAST 5 SENTENCES LONG AND ANSWER ALL THE BULLET-POINT QUESTIONS TO RECEIVE FULL CREDIT!

REMEMBER - THIS IS A HOMEWORK ASSIGNMENT - DO NOT USE TEXT LANGUAGE: CAPITALIZE, USE PUNCTUATION AND CHECK YOUR SPELLING!!

 

USING ADDITIONAL MATERIALS

Many cultures use additional materials on their pottery – both decoratively and symbolically. Bones, stones, fibers, reeds, twine, leather, feathers, wire, metal, found objects, fabric and paper are all materials that artists use to decorate and create symbolism on their pottery.

Decoration

When an object is used simply as decoration it has no inherent meaning attached to it. For example, I could use a rough hemp twine to create a handle for a teapot or a planter I made. If I was using the additional material decoratively, the type of twine would be chosen based simply upon aesthetics [look it up if you don’t know what it means!]. I may choose the rough look of the twine because I want the ceramic piece to look “rustic” or “old”. I may choose the twine simply because it works well visually with the texture of the teapot or the color of the planter. In all these cases the items are chosen for their visual aspects.

Symbolism

When an object is used for its meaning, then the object is used symbolically. For example, I could take the same teapot or planter I described above and want to give it some additional symbolic meaning. I could carve designs into the piece or stamp a quote or words on the pot to give it meaning.  I could also include additional materials that are in and of themselves symbolic.

Imagine a 9” teapot that is flat on both sides but the overall shape is circular… like a large watch standing on its side. The small knob that is used to wind the watch serves as the lid and a form shaped like an hourglass serves as the spout. One side of the teapot has Roman numerals carved into it to look like the face of a watch. What items could I add that would create a deeper meaning related to the concept of “time”?

If I added a rusty metal chain that connects the lid to the body of the pot/watch and added an old, faded and rough piece of driftwood for the handle and used a stone texture glaze or stains for the surface of the watch, then a viewer might infer that I am making a symbolic statement about how objects (and people) break down and  decay over time.

Imagine instead that I glued small objects onto the teapot/watch where the numbers should be.  Where the numeral 1 should go, I attached a baby’s spoon. Where the numeral 2 should be, I attached a small toy that a toddler would play with. Where the numeral 3 is located, I glued an item that makes the viewer think of “school”…and so on. I would be encouraging viewers to make the symbolic connection between the clock shape and the objects – trying to create the impression of the span of a person’s life.

PROMPT #1

• Look at the pottery and sculpture to the right.
• Describe a piece of pottery or sculpture; simply the physical attributes: size, color, texture, shapes – everything you see.
• Now discuss the symbolism of the piece – what do you think the artist was trying to convey or communicate by using additional materials?
• How clear is the symbolism?

PROMPT #2

• Imagine you are going to create a piece of pottery that uses additional materials symbolically.
• Describe your piece of pottery – size, color, texture, shapes and additional materials.
• Now describe the symbolism you are attempting to create. How does the shape of the pot and the additional materials help communicate your intended meaning?

PROMPT #3

·        Imagine you are creating a piece of pottery that incorporates additional materials – but that you are simply using the materials in a decorative fashion.

·        Describe your piece of pottery – size, color, texture, shapes and additional materials.

·        For what qualities did you choose these additional materials?

PROMPT #4

·        How would you feel if you created a pot with specific symbolism – you were trying to communicate something specific – and the majority of the viewers misconstrued the meaning and gave you negative feedback?

·        How would you respond to this feedback?

·        Would this affect how you designed your next piece of pottery? Why or why not?






























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FUNERAL URNS

*** PLEASE NOTE THAT THE INFORMATION IN THIS WEEK’S ASSIGNMENT IS OF A SENSITIVE NATURE – DEALING WITH LIFE, DEATH AND LOSS. IF YOU FEEL YOU CANNOT READ OR WORK WITH THESE TOPICS FOR WHATEVER REASON, PLEASE TALK TO MS. BELTON AND WE’LL FIND ANOTHER TOPIC FOR YOU. ***

READ THE INFORMATION BELOW ABOUT FUNERAL URNS - AND RESPOND TO TWO OF THE FOLLOWING PROMPTS BY FRIDAY, MARCH 30th AT 6:00 PM.

MAKE SURE YOUR NAME IS IN YOUR RESPONSE.

PLEASE MAKE SURE THAT YOUR RESPONSES ARE EACH AT LEAST 5 SENTENCES LONG AND ANSWER ALL THE BULLET-POINT QUESTIONS TO RECEIVE FULL CREDIT!

REMEMBER - THIS IS A HOMEWORK ASSIGNMENT - DO NOT USE TEXT LANGUAGE: CAPITALIZE, USE PUNCTUATION AND CHECK YOUR SPELLING!!

FUNERAL URNS

"I don't mind dying. I just don't want to be there when it happens." Woody Allen, Without Feathers

“Boy, when you're dead, they really fix you up.  I hope to hell when I do die somebody has sense enough to just dump me in the river or something.  Anything except sticking me in a goddam cemetery.  People coming and putting a bunch of flowers on your stomach on Sunday, and all that crap.  Who wants flowers when you're dead?  Nobody. “ J.D. Salinger, The Catcher in the Rye

“I shall not die of a cold.  I shall die of having lived.”  ~Willa Cather

“
From my rotting body, flowers shall grow and I am in them and that is eternity.”  Edvard Munch

“I knew a man who once said, ‘Death smiles at us all; all a man can do is smile back."  From the movie Gladiator

“Oh, may I join the choir invisible
Of those immortal dead who live again.” ~George Eliot, The Choir Invisible

“
For death is no more than a turning of us over from time to eternity.”  William Penn

“Ceramics has a vast and ancient history. Throughout much of that history people have been creating vessels and other works to use for funeral ceremonies. Many of these vessels were used to hold the remains after cremation; others were used for funeral rites and rituals or to memorialize the departed. This history extends over 10,000 years and includes most of the world’s civilizations. A variety of clays occur naturally over much of the earth and it is an abundantly common material. Because of clay’s amazing capability to be shaped and fired to stone-like hardness ceramic technology arose independently in various places and times in human history. It is perhaps the oldest technology of humanity, and ancient a revered skill.

Some of the most beautiful ceramics in the world are the ancient funerary vessels remaining from different cultures. One of the greatest Western civilizations to create a well developed ceramic technology was the Greco-Roman culture. The ancient Greek culture had a long tradition of cremation that carried over into the Roman Empire and spread over much of the ancient western world. Over time the ceramics used for funeral rites took on many different forms.”

http://urnsthroughtime.com/wordpress/?p=1

PROMPT #1

• Read the information above about funeral urns.
• What are your first thoughts about creating a funeral urn?
• Would you consider creating a funeral urn for someone you know?
• Would you consider creating a funeral urn for your family’s pet?
• How would you feel about creating a funeral urn for sale – for an anonymous purchaser?

PROMPT #2

• Go to http://www.funeria.com/  
• Go to the gallery on Funeria’s website and look at the one-of-a-kind urns created by contemporary artists.
• Which urns appeal to you visually?
• Describe your favorite urn.

PROMPT #3

• Everyone has different views on what happens after a person dies.
• These views inform how a family or society deals with the remains of an individual when they die.
• Do a little online research and explore the rites of an ancient culture and their funeral urns.
• Describe the rituals of the culture as they relate to their funerary urns
• Describe a funeral urn from this culture that intrigues you. Be specific in terms of:
• Size
• Color
• Shape
• Texture

PROMPTS #4

• Imagine that you are creating your own funeral urn or one for someone you love.
• Describe the urn in terms of:
• Size
• Color
• Shape
• Texture
• What do you find compelling about creating this urn?