Ceramics, mosaic and glass: artworks Books

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Book SynopsisThe most comprehensive monograph available on the greatest living glassblower, Lino Tagliapietra. Lino Tagliapietra has been described as the world’s greatest glassblower, a figure born from the five-hundred-year-old culture of Venetian glass, but one who also revolutionized glass as a discipline, inventing new techniques to create his masterful works. Even more astonishing, as Tagliapietra hit his full stride, he has become a notable figure in the unfolding story of modern sculpture – an artist whose distinctive works are coveted by collectors of contemporary abstract art and whose vision makes us think about art history in new and profound ways. This is the most comprehensive monograph available on his work and features insightful texts by Glenn Adamson and Henry Adams, as well as hundreds of new photographs, which showcase the impressive breadth and depth of Taglipietra’s repertoire.Trade Review‘This lavishly illustrated monograph provides a thorough insight into the life and work of the revered Italian glass artist.’ - Crafts ‘A new book celebrates the exquisite patterns and glowing colors of glass maestro Lino Tagliapietra.’ – Colossal

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Book SynopsisA celebration of the best of the National Trust's exquisite ceramic collection. This publication introduces the rich and varied ceramics in the National Trust's vast and encyclopaedic collection. This collection numbers approximately 75,000 artefacts, housed in 250 historic properties in England, Wales and Northern Ireland. One hundred key pieces have been selected from this rich treasure trove, each contributing to our knowledge of ceramic patronage and history, revealing the very personal stories of ownership, display, taste and consumption. The selection includes the following Continental wares: 'Red-figure' wares; Italian armorial tableware; Dutch Delft from the Greek A factory, owned by Adrianus Kocx; Chinese Kraak ware; Dehua ware; Japanese Kakiemon-style and Imari-style tableware and garnitures; Meissen table sculpture by Johann Joachim Kandler; tableware attributed to Adam Friedrich von Lowenfinck; Castelli faience from the Grue workshop. It also includes wares from the following porcelain manufactories: Doccia; Vienna; Vincennes; Sèvres; Dihl and Feulliet. English pottery and porcelain includes delftware; salt-glazed stoneware; creamware; Wedgwood Black Basalt and Etruscan ware; Chelsea, Bow, Worcester and Derby porcelain; Minton China; De Morgan, and Martin ware. From the Americas, the selection includes Pueblo ware. Many are published for the first time, sometimes illustrated in their original interiors. Collectively, the selection surveys patterns of ceramic collecting by the British aristocracy and gentry over a four hundred year period.Table of ContentsAcknowledgements Introduction 1. Exotica to Domestica: Anglicizing the foreign, 1550–1695 2. Chinoiserie: competing global counterfeits, 1685–1750 3. Genteel Curiosities for Tea, Table and Chimney, 1745–65 4. The Grand Tourist: ‘vase madness’ and the antique, 1765–89 5. Revolution: Napoleon and Francophile taste 1789-1825 6. Ceramics Victorious: from taxing heirlooms to collecting antiques 1825-1950 Glossary Notes Bibliography Photographic credits Index

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Book SynopsisA concise and accessible introduction to throwing, with step-by-step instructions and tips. Throwing is an important skill for any potter to master, using only a few tools, the guidance of their hands, and the momentum of a wheel. This book is an essential companion for anyone attempting to master the art of forming pots on the wheel. Having spent his life making pots and teaching others to make them, Richard Phethean describes essential techniques for working on the wheel with an eye for the practical. Learn about a range of forms, from simple domestic pots such as mugs, jugs, bowls and teapots to more complex vessels with oval shapes or cut edges, with the aim of building your confidence in throwing techniques. The book features clearly illustrated step-by-step instructions and diagrams for creating each type of vessel. Finally, get some inspiration from the work of contemporary potters discussing their techniques and featuring some of their stunning pieces.Trade ReviewA stimulation of creativity and of ideas for the maker ... This is a good book, it has emerged fresh and smart from an update and deserves a place in your library. * London Potters News *I enjoyed Richard Phethean's book enormously ... [The book is all about] making and wanting to make. The inspiration comes from the continual need to improve, experiment and innovate, whether it's following a brilliant method of making oval dishes (no cutting, no scars), or a nice approach to a composite pot with a little off centre lean. To inspire further, there are little vignettes from some well-known potters ... Excellent glimpses into the working practice of those whose work is so admired and a spur to those whose work is developing. * Shards: South Wales Potter Newsletter *Table of ContentsAcknowledgements Introduction A Brief History of the Wheel 1. Getting Started 2. Basic Techniques 3. Domestic Pots 4. Advanced Techniques 5. The Artist Potter Glossary Suppliers Index

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Book SynopsisFrom the mid-1740s on, imaginative depictions of mining scenes increasingly adorned vessels from the Meissen Royal Porcelain Manufactory. This publication explores the Middelschulte collection at the Deutsches Bergbau-Museum. Text in German.

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Book SynopsisWith over 200 full-color photographs of traditional pottery around the world, Global Clay is sure to become a classic for all who love art and pottery and all who are intrigued by the human commonalities revealed through art.Trade ReviewWhile researchers and educators may find individual chapters useful for discussions about pottery's relationship to people, communities, animals, religion, and the afterlife, the text as a whole is an enjoyable and quick read, with numerous beautiful illustrations that a general audience would also appreciate. * The Journal of American Folklore *Ambitious in scope and successful in describing the central role that works of clay have played preserving common cultural narratives . . . Essential. All readers. * Choice Reviews *Table of ContentsAcknowledgmentsIntroduction1. International Folk Pottery: A Brief Primer2. Monuments to Clay: Public Markers of Craft Identity3. The Human Image: Face Jugs and Other People-Pots4. The Sincerest Form of Flattery: Cross-Cultural Imitations5. A Clay Menagerie: The Animal World in Ceramics6. Idols with Feet of Clay: Ceramics and World Religions7. Returning to Clay: Death and the Afterlife8. The Last Folk Potters?: Prognosis for the FutureSuggested ReadingIndex

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Book SynopsisLearn new slipcasting techniques to create a wide range of beautiful and individualised pieces. In the past, slipcasting was primarily considered an industrial method. Today, however, ceramic artists are adapting its techniques to create a wide range of beautiful and highly individualised pieces. Sasha Wardell clearly explains and demonstrates the techniques involved and shows you how they can be adapted for the studio workshop. Full of colourful images, this book gives you a thorough grounding in all aspects of mould making and slipcasting. Get inspired by the work of an international group of artists which illustrate the breadth and versatility of the work that can be created. This second edition also contains a revised chapter on individual approaches by well-known contemporary artists.Table of ContentsPreface Acknowledgements Introduction 1. Plaster – the Material 2. Tools and Materials 3. Modelmaking 4. Mould Making Part I 5. Mould Making Part II 6. Slipcasting 7. Bone China 8. Individual Approaches Appendix Glossary of Terms Bibliography Suppliers Index

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Book Synopsis? The first comprehensive monograph on Japanese ceramics in Chinese style and their history? 100 beautiful ceramics showcase the artistic relationship between Japan and China throughout the years? A valuable reference source for collectors and art historiansKindred Spirits showcases the remarkable flowering of Chinese style ceramics that took place in Japan after the mid-19th century. For over a thousand years, Chinese ceramics have been admired and emulated in Japan. This book discusses for the first time how this artistic relationship evolved during the Meiji, Taisho, and early Showa eras. A selection of 100 works from the acclaimed Shen Zhai Collection demonstrates the range and quality of these ceramics, from elegant celadons to sophisticated underglaze blue porcelains. Detailed descriptions, makers? marks, and box inscriptions make this a valuable reference resource for collectors and art historians.

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Book SynopsisIt can be precisely dated, can tell us about the diet, economy, and even ritual acts of prehistoric people, and it is often richly decorated. As this new study convincingly shows, pottery can tell us more about prehistoric society than any other artifact.

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Book SynopsisPetrography is the minute examination by microscope of rock and mineral samples for the purpose of determining precisely their mineralogical composition. In this groundbreaking work, James B. Stoltman applies quantitative as well as qualitative methods to petrography of Native American ceramics.

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Book SynopsisOutside the Ordinary introduces audiences to sixtyseven masterworks selected from the Nancy and David Wolf Collection, carefully documented and photographed in full color.

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Book SynopsisChinese ceramics are among the most significant and widely collected decorative arts produced anywhere in the world, with a history that spans millennia. Despite the saturation of Chinese ceramics in global culture—in English, the word “china” has become synonymous with “porcelain”—the function of these works and the meaning of their often richly decorated surfaces are not always readily apparent. This new installment in the successful How to Read series enlightens readers on Chinese ceramics of all kinds, using highlights from the outstanding collection of The Metropolitan Museum of Art as a teaching tool. Accessible to a general audience and written by an expert on the subject, this book explains and interprets 40 masterworks of Chinese ceramics. The works represent a broad range of subject matter and type, from ancient earthenware to 20th-century porcelain, and from plates and bowls to vases and sculptural figures. Lavish illustrations showcase these stunning works and the decorations that adorn them, including symbolic scenes, flowers, and Buddhist and Chinese historical figures. Published by The Metropolitan Museum of Art/Distributed by Yale University PressTrade Review"Accessible to a general audience and written by an expert on the subject, this engaging and visually stunning primer on Chinese ceramics enlightens readers about their function, decoration and interpretation."—Apollo

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Book SynopsisAtlas Of Ceramic Fabrics 1. Italy: North-East, Adriatic, Ionian. Bronze Age: Impasto presents and interprets the petrographic composition of Bronze Age Impasto pottery (23rd-10th centuries BCE) found in the eastern part of Italy. This is the first of a series of Atlases organised according to geographical areas, chronology and types of wares. In this book 935 samples from 63 sites are included, which comprise material obtained as a result of almost 30 years of interdisciplinary archaeological, technological and archaeometric research by the authors’ team. 73 petrographic fabrics (the potters’ ‘recipes’) are defined and presented, on their lithological character – a tool that can be used to compare the different components of the ceramic pastes and to check provenance of non-local pots. The volume is organised in chapters focused on methodology, fabric description and distribution, followed by the archaeological implications and the database, with contributions by Daniele Brunelli and Andrea Di Renzoni. Illustrations and descriptions of the fabrics and a complete list of the samples are included in order to provide a rigorous and transparent presentation of the data. The archaeological implications are discussed within the topics such as technology, variability, standardisation, chronology, function, social organisation, circulation, style, typology and cultural identity. It is hoped that this work will be considered as another stepping-stone in demostrating that, in archaeology, technological variability is as important as morphological and stylistic distinctions.Table of Contents1 Introduction: Q and A (Sara Tiziana Levi) ; 2 Fabrics (Valentina Cannavò and Sara Tiziana Levi) ; 3 Archaeological implications (Sara Tiziana Levi and Valentina Cannavò) ; 4 Databases (Valentina Cannavò, Sara Tiziana Levi, Daniele Brunelli and Andrea Di Renzoni) ; DB1 Samples by fabric ; DB2 Samples by site ; DB3 Fabrics (description) ; DB4 Fabrics ; 5 Bibliography

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Book SynopsisThis volume presents the first comprehensive academic study of the history and development of performance art in the former communist countries of Central, Eastern and South Eastern Europe since the 1960s. Covering 21 countries and more than 250 artists, this text demonstrates the manner in which performance art in the region developed concurrently with the genre in the West, highlighting the unique contributions of Eastern European artists. The discussions are based on primary source material-interviews with the artists themselves. It offers a comparative study of the genre of performance art in countries and cities across the region, examining the manner in which artists addressed issues such as the body, gender, politics and identity, and institutional critique.Trade Review‘By highlighting an instance in which documentation functioned as a substitute for presence, Bryzgel weighs in on art-historical debates regarding the relationship between live art and photography. It is at moments like this that Performance Art inEastern Europe since 1960 most succeeds in its stated aim of ‘looking not from the centre to the periphery but the reverse, to see how such an approach might not only challenge but also overturn perceptions regarding art history, artistic styles, and the canon’ (p. 5).’Michelle Maydanchik, University of Pittsburgh, Slavonic and East European Review (vol. 95, no. 4, October 2017)‘Bryzgel’s text will interest especially those invested in the rapidly expanding field of Central and Eastern European art history and Cold War cultural studies. Its wide swathe of information illustrates the variety and intrigue of performance art in the Cold War East and will surely entice many curious onlookers to storm the field.’ - Sara Blaylock, University of Minnesota–Duluth, CAA Reviews‘Like any good art historical study the book goes beyond shedding lighton an obscure moment in history, bearing much relevance to contemporary artistsworking in the West today. In this respect, a great strength of the book is itsintimate analysis of the operation of the strategy of ‘Subversive Affirmation’in the communist era.’Pil and Galia Kollectiv, Journal of Contemporary Central andEastern Europe‘The material provided contributes to the expanded fields of performance studies and art history by offering a rich and fascinating overview of the overlooked artistic practices in Eastern Europe. Furthermore, Bryzgel’s approach should challenge the reader’s perception of histories of art and performance shaped through the lens of the West.’Sofia Vranou, Queen Mary University of London, Contemporary theatre review, Volume 28, 2018 – Issue 1‘Bryzgel’s text will interest especially those invested in the rapidly expanding field of Central and Eastern European art history and Cold War cultural studies. Its wide swathe of information illustrates the variety and intrigue of performance art in the Cold War East and will surely entice many curious onlookers to storm the field.’Sara Blaylock, University of Minnesota–Duluth, CAA Reviews‘This is a richly researched and beautifully illustrated book, which makes a major contribution to the field's ability to connect the art histories of these countries to the global history of performance art. It will be an indispensable tool for teachers looking to expand offerings in this area, which as Bryzgel observes, Anglophone art history curricula most often exclude (4).’Adair Rounthwaite, University of Washington in Seattle, Art Journal, Volume 77, 2018 - Issue 1‘Bryzgel's consistent comparison of works from different Eastern European countries helps (re)construct a performative space on its own cultural and political terms. In addition, the many illustrations are a visual treat and help readers imagine the performances discussed. As a Romanian-born writer and director who resided and worked in Bucharest until 2000, I must agree with Bryzgel: given the linguistic, political, and economic barriers, living in Eastern Europe before and even after 1989 does not guarantee that one knows the work of artists there, nor that they know of each other's work. In this and many other ways, the informative value of Bryzgel's study is remarkable for both Western and Eastern scholarship.’Diana Manole, Ryerson University, Theatre Survey, Volume 59, Issue 2, May 2018 , pp. 298-300‘With this recent study, she [Bryzgel] introduces much-needed perspectives from artists who were challenged by socioeconomic conditions while maintaining their artistic research, in spite of the political regimes under which they were forced to live. The new material explored in this book usefully documents and analyzes works that have led to the beginnings of performance studies in Eastern Europe.’Cristina Modreanu, art curator and critic, New York/Bucharest, PAJ: A Journal of Performance and Art, Volume 40, Number 2, May 20187 (PAJ 119)‘Too often, Eastern Europe is treated as the “other” and on the margins of Europe’s new geopolitical, economic, and cultural fault lines, but thanks to Bryzgel, the region is now resituated as an important focal point for understanding the art practices of the late twentieth and early twenty-first centuries in ways that venture beyond the generalized divide between the capitalist West and socialist East.’-Aleksandra Jovicevic, Modern Drama, vol. 61/no. 2 (Summer 2018)‘Performance Art in Eastern Europe since 1960 is an important contribution to the study of Eastern European art and will be instructive to those interested in Eastern European studies, art history, and performance art. It introduces the reader to a variety of artists, both established and fairly unknown, and paints a rich picture of the complex history of performance art and experimental culture in Eastern and Central Europe. As an introduction to performance in Eastern Europe, the text broadens art historical scholarship and opens a myriad of possible paths for further research that hopefully will be tackled by scholars in the future.’Anja Foerschner , The Getty Research Institute -- .Table of ContentsIntroduction1. Sources and origins2. The body3. Gender4. Politics and identity5. Institutional critiqueEpilogueSelect bibliographyIndex

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Book SynopsisTraditional Chinese porcelain-making techniques revealed - from renowned Chinese ceramic artist and scholar Bai Ming, with over 600 authentic onsite images in full colour.

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Book SynopsisThis richly illustrated book presents the first comprehensive study of the making and marketing of pottery in medieval Ireland. Focusing on a well-preserved 14th-century pottery production centre which was excavated in 2006 at Highhays, outside the walls of the renowned Anglo-Norman town of Kilkenny in south-east Ireland, the authors describe its kiln, workshops and working areas, as well as its ‘Highhays Ware’ products: jugs, jars, cooking-pots, money-boxes and ridge tiles.Foremost amongst the outputs from the kiln site were high-quality, wheel-thrown, green-glazed jugs that were closely modelled on French Saintonge and Bristol Redcliffe archetypes and the volume describes the distinctive processes, kiln-firing technology and raw materials that were employed to produce these, and the other wares, represented on the site. The book also presents the results of an innovative plasma spectrometry and petrological analysis of Highhays Ware, which facilitated identification of the source for the raw potting clays areas – located at a considerable distance from Highhays in north county Kilkenny – used in its production, in addition to allowing for a study of the uncharacteristically broad distribution of the ware throughout the south-east of Ireland. The authors also place the production of pottery at Highhays in its broader context by presenting an overall review of the archaeological and historical evidence for pottery making and consumption in medieval Ireland, as well as by exploring the cultural background and social status of potters in the Anglo-Norman colony. Supporting the analysis and interpretation of the Highhays site and its assemblage are specialist and scientific contributions on the pottery, tiles, ceramic production material, metal finds, coins and archaeobotanical and animal bone remains from the site, archaeomagnetic and radiocarbon dating and plasma spectrometry and petrological analysis.Trade ReviewThis book is well illustrated throughout and provides an informative overview of Medieval Kilkenny * Ulster Archaeological Society *Table of ContentsAcknowledgements List of figures List of tables Authors and contributors Note on conventions Archaeological excavation archive Abbreviations Preface Foreword Summary 1. Introduction, by Emma Devine and Cóilín Ó Drisceoil 2. The pottery production centre excavations (Area 1, Period 1), by Emma Devine, Cóilín Ó Drisceoil and Niamh Curtin 3. Bake-yard excavations (Area 2, Period 1), abandonment and subsequent land-use (Areas 1 and 2, Periods 2 and 3), by Cóilín Ó Drisceoil 4. The products of the Highhays pottery, by Cóilín Ó Drisceoil, Clare McCutcheon and Joanna Wren 5. Highhays Ware, a provenance and distribution study, by Niamh Curtin, Cóilín Ó Drisceoil, Michael J. Hughes and Richard Unitt 6. Non-ceramic finds, by Órla Scully, Cóilín Ó Drisceoil, Joe Norton, Jimmy Lenehan and Paul Rondelez 7. Archaeobotanical and charcoal analysis, by Mary Dillon and Ingelise Stuijts 8. Highhays and the archaeology of medieval pottery production and town suburbs in Ireland, by Cóilín Ó Drisceoil Bibliography Appendix 1: Archaeomagnetic dating of the pottery kiln at Highhays, Kilkenny, by Vassil Karloukovski and Mark W. Hounslow Appendix 2: Radiocarbon dates Appendix 3: Post-medieval pottery, by Clare McCutcheon Appendix 4: Post-medieval clay building material, by Joanna Wren Appendix 5: Animal bone, by Karin Ilseth Appendix 6: Disarticulated human remains, by Karin Ilseth

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Book SynopsisAn examination of the balance between modernity and tradition in Cuba’s turn-of-the-century artistic evolution.The Lost Generation La generación perdida accompanies an exhibition of the same name at the McMullen Museum of Art, Boston College. The modern artistic ceramic movement in Cuba, almost exclusively comprised of women artists (including Amelia Peláez, Mirta García Buch, and María Elena Jubrías), emerged toward the end of the 1940s and continued into the next decade. The ceramicists invited Cuba’s modernist protagonists, including René Portocarrero, Luis Martínez Pedro, and Wifredo Lam, to participate in designing ceramics at the Taller de Santiago de Las Vegas. The workshop thus became a locus for the fermentation of Cuban modernist expression. Juan Miguel Rodríguez de la Cruz, the workshop's proprietor, recognized the artistic value of the ceramicists’ production and he, along with the women he hired, encouraged collaboration with their male contemporaries. A symbiotic artistic practice grew in which the ceramicists introduced ideas and designs to the painters, whose fledgling attempts in ceramics took eventual flight. As the painters’ familiarity with the new medium grew, similar forms appeared in their two-dimensional renderings, which are now synonymous with Cuban modernism. During the post-Revolutionary period of 1959–85, the Taller became part of Cuba’s National Patrimony, continuing the tradition of producing serial and artistic pieces. As the Revolutionary regime wore on, the Taller’s importance waned, artists left Cuba, and independent workshops flourished. While the Taller de Santiago no longer boasts importance in artistic production today, it left an indelible mark on Cuban modernism. With essays by Cuban, American, and Cuban-American scholars, The Lost Generation La generación perdida provides a background on the twentieth-century avant-garde movements in Cuba; delves into the narrative of an overlooked group of Cuban women ceramicists, assessing the implications of their work on modernism; and, finally, explores in depth the women artists of the third avant-garde generation (1949–58).

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Book SynopsisThis volume collects research presented at the Koç University Research Center for Anatolian Civilizations (ANAMED) 2018 international annual symposium. It brings together researchers engaged in the study of the decoration and technology of glazed pottery, ranging from the early Byzantine era to the end of the Ottoman period. Topics explored include pottery production in Constantinople, glazed ceramic production and consumption in medieval Thebes, pottery imports in Algiers during the Turkish Regency, considerations of trading routes and their influences, the relationships between Italy and the Byzantine and Ottoman world through pottery, and more. Table of ContentsNikos Kontogiannis and Beate Böhlendorf-Arslan - IntroductionFiliz Yenisehirlioglu - Moments of Change, Actors and InterpretationYona Waksman - Pottery Production in Constantinople, Istanbul: Recent Excavations and New Issues Regarding the Diffusion of Wares, Styles, and TechniquesNatalia Poulou - Polychrome Ware: The Long Journey of Decorative MotifsMuradiye Öztaskin - Production of Glazed Wares and Their Identity from the Byzantine to Ottoman Periods in AphrodisiasFotini Kondyli - Between Tradition and Experimentation: Glazed Ceramic Production and Consumption in Medieval ThebesJacques Burlot - Cultural, Technological, and Economic Changes in Western Anatolia: Observing the Byzantine-Ottoman Transition (13th–15th Centuries) Through the Spectrum of Glazed TablewaresEva Strothenke - Glazed Pottery of the East in the Doliche Monastery: Considerations on Trading Routes and Their Limits Between the Cilician Taurus and the TigrisGülsu Simsek - On-site XRF Analysis of "Iznik" Tiles at Edirne MosquesLucile Martinet - Colored Glazed Tiles During the Ottoman EraEdna J. Stern - Caught Between Two Worlds: Levantine Alkaline Glazed WareMelanie Gibson -The China Syndrome: A Study of the Origin and Forms of Hatayi Elements in Ottoman Blue-and-White Ceramics, circa 1480–1540Rosalind A. Wade Haddon - ‘Kubachi’ Influences on Iznik Vessels: A Discussion on Dealer Derived Sets of Tiles in the Victoria and Albert Museum, LondonSauro Gelichi - Three Stories in the Medieval and Modern Mediterranean Area: the Relationships Between Italy and the Byzantine/Ottoman World Through PotteryHatice Adigüzel - From Inspiration to Imitation: The Ottoman Impact on Italian Pottery ProductionVéronique François - Ottoman Consumption and Transmediterranean Trade: The Pottery Imports in Algiers at the Time of the Turkish Regency (1518–1830)Gülgün Yilmaz - New Inspirations of Kütahya Tiles in the 18th Century

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Book SynopsisThe first monograph on Tecla Tofano, spotlighting her transition to handmade ceramicsVenezuelan ceramicist Tecla Tofano (192795) is most recognized for her pottery, but she was also a draftswoman, metalsmith and writer. From 1964 to 1978, Tofano shifted from crafting objects on a traditional potter's wheel to hand-sculpting glazed ceramics of body parts, books, totemic figures and domestic items, often exploring issues of maternity, sexism and socioeconomics. Toward the end of the 1970s, Tofano felt that she had exhausted the possibilities of clay as a medium. She stopped producing ceramics to refocus her energy and activist rhetoric on writing and drawing. Tofano wrote critical articles on society and culture for the newspaper El Nacional beginning in the 1960s and authored several books. This monograph, the first ever dedicated to the artist, highlights Tofano's ceramics and drawings from the 1960s and 1970s. It features a selection of ceramics from

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Book SynopsisThis volume highlights one of the most significant collections of African ceramics in the United States, distinguished for its breadth and representation of women’s excellence in ceramics. It presents these ceramics through sections organised around topics that explore ceramics through different lenses of place, time, artistic media, and cultural identity. This richly illustrated volume organized by the IU Eskenazi Museum of Art celebrates outstanding African ceramics in the collection of Professor Emeritus William M. Itter.

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Book SynopsisArte Vetraria Muranese (AVEM) emerged from the liquidation of Successori Andrea Rioda in November 1931. The new factory placed a very personal accent on contemporary artistic glass production on Murano: while designs prior to the Second World War were generally still the responsibility of master glassblowers themselves, after the war designers and freelance artists increasingly determined production. Giulio Radi began experimenting in 1940, obtaining the company's signature chromatic effects by superimposing mould-blown layers of glass, often opaque and transparent in alternation, and inlaying them with gold and silver foil. This latest volume of Marc Heireman's ongoing Murano manufactory books features over 800 design drawings, numerous archive images and new photos of AVEM masterpieces, making this anthology of the company's history indispensable for all Murano glass lovers.

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Book SynopsisThe ultimate guide to the potential of ceramic transfer printing as a creative medium. This book is ideal for anyone wishing to combine ceramics with print and transfers, a very exciting area which has enormous scope for creativity. Ceramic transfers or decals are one of the prime methods of decorating industrially-made ceramics. They also offer exciting creative potential for studio-based artists or designer-makers. A ceramic transfer is traditionally made by printing ceramic ink onto a special paper and allows pictures, patterns or text to be transferred onto ceramic forms - 2D and 3D. Importantly, print can achieve distinct aesthetic effects on ceramics that are not possible by using other decoration methods such as hand painting. Drawing on over twenty years of experience, Kevin Petrie offers a focused analysis of the potential of ceramic transfer printing as a creative medium. Discover the specific materials and techniques for making versatile screen-printed ceramic transfers - from the 'low tech' to the more sophisticated. In this book, you can also explore other approaches by artist researchers as well as recent developments with digital transfers. A range of case studies shows the potential and diversity of the transfer printing approach in this area, which extends beyond ceramics to include printing on enamel, metal and glass.Trade ReviewPetrie shares his wisdom, experience and techniques in this very comprehensive work ... a serious reference tome for both the student and the artist. * London Potters News *New and exciting ... Well produced offering a clear and well-structured layout in both its historical analysis and new technical developments ... Highly recommended. * South Wales Potters' Newsletter *This title is the first in a new series called The New Ceramics, with which the publisher will offer a contemporary vision of different areas of ceramic art. In this case concerning the transfer of images on ceramic, support was studied from traditional techniques to the use of computers. * [Translated from] Revista de Libros *Table of ContentsAcknowledgements Introduction 1. What is a ceramic transfer? 2. A historical overview 3. How ceramic transfer prints look: methods and aesthetics 4. Materials for ceramic transfer printing 5. Screen-printed waterslide transfers: the basics 6. Some ‘low-tech’ approaches to using screenprinting 7. Extending the potential of screenprinting: ‘photographic’ stencils 8. Integrating form and image: one artist’s approach 9. Digital transfers 10. Revisiting early transfer printing methods 11. Transfer printing and enamel on metal 12. Transfers and glass Conclusion Suppliers Further reading Index

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Book SynopsisThe use of wax, paper, clay and other materials to prevent the effects of heat, fire, smoke, chemical reactions, colours and glazes from altering or contaminating the surfaces of work is very popular with ceramicists. However, learning to use these techniques can be a long and frustrating process, particularly when complicated by considerations of the state of the clay and which form of glazing is to be used. In this book, Peter Beard discusses the techniques of masking and resist and gives guidance as to how best to use various materials and firing method to achieve a wide range of finishes.Table of Contents1. History and overview of resists and masking 2. Water-based waxes 3. Oil-based waxes 4. Latex wax or latex rubber solutions 5. Spraying - ordinary and airbrush 6. Paper and adhesive tapes, papers and films 7. Exercises in using slips and resists 8. Colloidal slips 9. Acid etching 10. Lustre techniques 11. Masking resists and smoke 12. Grit blasting 13. Recipes

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Book SynopsisA guide to the historical and technical side of salt glazing with work from leading international salt glazing artists. Salt-glazing has a long history, from its early use in German storage jars, then in Victorian industrial sewage pipes to its current position as one of the most exciting areas of studio ceramics. In this book, Phil Rogers teaches you all aspects of this very special glazing technique. Starting with a brief overview of the history of salt glazing, he then discusses the technical considerations that set this form of glazing apart from all others. Given particular consideration are kilns, which are such an important factor in this technique. Finally, discover the work of the world's leading artists using this particular medium. Salt glazing, with its distinctive 'orange peel' surface, has long attracted both makers and collectors. Beautifully illustrated throughout, this book is a must on the reference shelves of all ceramicists and collectors or studio ceramics, but it should particularly appeal to all those who enjoy the wonderful surface textures that this medium provides.Table of ContentsAcknowledgements 1. Introduction 2. Clay Bodies Suitable for Salt Glazing 3. Slips and Glazes for the Salt Kiln 4. Decoration 5. The Salt Kiln 6. Stacking a Salt Kiln 7. Firing a Salt Kiln 8. Environmental Concerns over Salt Firing 9. Profiles Appendix Bibliography Index

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Book SynopsisIn less than two decades, Jacoba van Heemskerck (1876–1923) created a powerful oeuvre comprising paintings, woodcuts, glass works and mosaics. Her expressive subjects, including landscapes, townscapes and harbour scenes, are characterised by luminosity and increasing transparency, by rhythmical compositions of the pictorial space, black contours and an intensive use of colour. After her artistic beginnings in the circle around Mondrian and elsewhere, Jacoba van Heemskerck belonged to the centre of the avant-garde movement emanating from the “Sturm” of Herwarth Walden in Berlin – the gallerist and publisher who made artists like Marc, Kandinsky and Jawlensky famous. Her work is shaped by her orientation towards Anthroposophy, which bears witness to her interest in the elemental effect of light and colour on the viewer. Her creative work is highly topical today thanks to her understanding of nature and the cosmos as a world viewed as a whole.Trade Review“Recommended for all art libraries.” * ARLIS/NA Reviews *

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Book SynopsisWorks of art are eloquent intermediaries. This title provides an introduction to the painted pottery that served specific utilitarian functions and that afforded artists a medium for depicting their gods and heroes and the details of daily existence.Trade Review“It is refreshing to encounter a catalogue of museum vases that is not entirely masterpieces, but rather an erudite selection that informs the reader about the vast range and ingenuity of Greek ceramics. How to read Greek vases will serve not only visitors to the Met but anyone keen to learn about this important aspect of Greek art and culture.” —Bryn Mawr Classical Review * Bryn Mawr Classical Review *“The book draws comparisons with other media and contexts to broaden our understanding of what we’re looking at.” —The World of Interiors * The World of Interiors *". . . a clear, lively, informative book . . . superb, full-color illustrations . . . Highly recommended."—R. Brilliant, Choice -- R. Brilliant * Choice *“This beautifully produced and elegantly written book provides a superb introduction to the appreciation of Greek vases by one of the foremost authorities on the subject.” —American Journal of Archaeology * American Journal of Archaeology *

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Book SynopsisMeet over 120 innovative ceramic artists through 495 striking color photos of original work from around the globe. From small objects for use and ornamentation to large-scale sculptures, see earthenware, stoneware, and porcelain finished in a variety of techniques. The artists share the inspiring influences that drive them year after year. This beautiful pictorial reference will become prized by ceramic art collectors, dealers, galleries, and artists alike.

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Book SynopsisAn essential guide to the creative process for sculpting the figure. The human figure in sculpture is a powerful form, capable of great expression and depth. Sculpting the figure in any medium is a rewarding practice, but one that can lead to some challenges. Tanya Russell, founder and principal of the Art Academy in London, details the whole creative process for sculpting the figure, from the fundamental conceptual and practical considerations through to the finished and presented work. She covers essential tools and equipment, methods for building armatures, and the processes for creating not only realistic, but also abstract and expressive figures, in a variety of styles and materials. Techniques are supported by practical exercises with step-by-step instructions and images. The book is filled with the inspiring works of contemporary sculptors, all of whom are tutors, students, or alumni of the Art Academy. Modelling and Sculpting the Figure is an essential companion for beginners and established artists alike.Trade ReviewBeautifully presented in a fairly simple format with clear and simple language. There are plenty of both colour and black and white images which are quite inspirational is themselves...This book is helpful in its focus on some universal artistic principles and approaches to sculpting the human figure. -- Mary Cousins * South Wales Potters Newsletter *Table of ContentsIntroduction Chapter 1: The Language of Art Chapter 2: Getting Started Chapter 3: Armatures Chapter 4: The Realistic Figure Chapter 5: The Abstracted Figure Chapter 6: The Expressive Figure Chapter 7: Finishing Suppliers Acknowledgements Bibliography Index

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Book SynopsisCeramics is one of the most vibrant and engaging fields of contemporary British art. This lavishly illustrated book reviews the work of twenty-two artists and celebrates their contribution to its rich landscape. Written from a collector’s point of view, it explores what contemporary ceramic objects can mean, what emotions they evoke and how artists draw upon different facets of the art and crafts worlds in their work. A vital visual and critical resource, Contemporary British Ceramics showcases British ceramics as a compelling interdisciplinary practice, attuned to the contemporary world. Featuring more than 280 images, it encourages readers to look beneath the surface, to discover the vibrant contribution that British ceramics makes to the broad field of contemporary art.Trade Review"An essential reference tool for anyone interested in modern ceramics." * Emerging Potters magazine *This is an essential book to understand the current ideas of British ceramics. The author, Ashley Thorpe, is one of the most prestigious experts on the subject. -- Infoceramica reviewer * Infoceramica *

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Book SynopsisDan Klein and Alan J. Poole began collecting in the late 1970s and over the subsequent thirty years assembled on the most comprehensive collections of modern British and Irish glass. The book includes work by over one hundred makers at the very cutting edge of their art. This dazzling collection was gifted to National Museums Scotland in 2009.Trade Review' ... For a student this is essential reading. For a collector it's an invaluable guide and personal primer. For a maker in the UK or Ireland, it's a family album that forms an important part of the collective story of who we are and what we are a part of. It should be on all our bookshelves.' Glass Circle NewsTable of ContentsPreface/Foreword by Alan J. Poole/Introduction by Jennifer Hawkins Opie/the Collection edited by Rose Watban, National Museums of Scotland/Bibliography/Biographical Information/Acknowledgements

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Book SynopsisThis book broadens the discussion of pottery and china in the Victorian era by situating them in the national, imperial, design reform, and domestic debates between 1840 and 1890. Largely ignored in recent scholarship, Ceramics in the Victorian Era: Meanings and Metaphors in Painting and Literature argues that the signification of a pot, a jug, or a tableware pattern can be more fully discerned in written and painted representations.Across five case studies, the book explores a rhetoric and set of conventions that developed within the representation of ceramics, emerging in the late-18th century, and continuing in the Victorian period. Each case study begins with a textual passage exemplifying the outlined theme and closes with an object analysis to demonstrate how the fusing of text, image, and object are critical to attaining the period eye in order to better understand the metaphorical meanings of ceramics.Essential reading not only for ceramics scholars, but also those of mTrade ReviewFocusing on the rich meanings that ceramics accrued through their use and subsequent representation in paintings and works of literature, this book embraces a radically new approach to the study of Victorian ceramics. * Penny Sparke, Director, Modern Interiors Research Centre, Kingston University, London, UK *For anyone with an interest in the Victorian period this book is a treasure trove. Gotlieb offers a richly researched analysis of cultural messages conveyed by ceramics. The brown teapot, broken jug or willow pattern plate may be bit part players in art and literature, but they all tell powerful tales. * Moira Vincentelli, Emeritus Professor of Art History and Honorary Curator of Ceramics, Aberystwyth University, UK *Table of ContentsList of Illustrations Introduction 1. Ceramics as Agent of Design Reform and Aestheticism 2. Willow Pattern: A Mutable Agent of British Design and Art 3. Teacups Tell Such Wondrous Tales 4. British Pottery: Pride and Piety 5. A Victorian Pitcher Speaks a Thousand Words Conclusion Index

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Book SynopsisThis fully illustrated and researched catalogue commemorates an exhibition of over 200 pieces of Chinese and related ceramics collected within the members of the Oriental Ceramic Society of London. The selection spans the complete range from Neolithic to contemporary ceramics, from minor kilns in many different regions to the major kilns working for the court, and from pieces of academic interest to world-famous masterpieces. It privileges unusual and rarely seen artifacts and avoids well known, repetitive designs such as that of the dragon, which is so firmly identified with China that it has become a cliche of Chinese art. It also aims to demonstrate the vast variety of wares and the inventiveness of Asian potters well beyond the classic confines. Text in English and Chinese.

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Book SynopsisTrade Review“More than 1,000 lustrous Victorian vessels appear in Majolica Mania: Transatlantic Pottery in England and the United States, 1850-1915 . . . Dozens of scholars contributed essays about ceramics makers, from central England’s venerable Wedgwood to Manhattan’s forgotten James Carr. The [majolica] designs were as majestic as fountains and fireplaces covered in dragons, and as endearingly frivolous as boots for holding toothpicks and jugs portraying baseball players.”—Eve Kahn, New York Times“Weber and her team have produced an exceptionally well-illustrated and comprehensive database from which many new projects can grow.”—Edward S. Cooke Jr, The Burlington Magazine

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Book SynopsisDespite the fundamental functions that architecture must perform, it will always inspire artists across all genres with its masterful handling of space, harmony and proportion. Enric Mestre (b.1936) is one of those observers of space and volume who have left their mark on the ceramic sculptural art movement of the 20th century and beyond. As one of the key artists of the Spanish school, his name is mentioned in the same breath as master sculptors Jorge Oteiza and Eduardo Chillida. His sculptures come across as sober spatial constructions, but appearances are deceptive: these objects have a poetic force that counters the gaze of the beholder. This book celebrates the master's best creations and is a perfect opportunity to discover or rediscover his timeless work. Text in English and Spanish.

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Book SynopsisThis monograph on the life and work of iconoclastic Japanese artist Shiro Tsujimura demonstrates how, in his signature self-taught manner, he has reinvented the classic ceramic art form.Shiro Tsujimura is a vanguard contemporary ceramic artist. While his creations and techniques are deeply rooted in traditional Japanese and Korean styles, his independent streak defines his practice with a sense of freedom, playfulness, and self-confidence that results in decidedly unique works. This monograph takes readers inside his studio and home to discover his artistic practice and lifestyle. Axel Vervoordt, Alexandra Munroe, and longtime friend Hiroshi Sugimoto each contribute a highly personal essay, providing rare insight into this magnetic artist. Tsujimura himself shares his approach to ceramics, deeply linked to both his training as a monk and his fierce independence, which drove him from his spiritual practice to become an artist. Each of his creations is pure and soulful, wh

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Book SynopsisThe pottery of Acoma Pueblo stands at the height of ceramics among the Pueblo Indian pottery traditions. This exhaustively researched book traces the history of Acoma pottery over the past seven hundred years, concentrating on the periods from 1300 to 1930. with a summary of the modern period. The authors studied over several thousand examples, presenting more than 800 examples here, along with dozens of photographs of potters. The book identifies more than nine hundred Acoma potters, several of whom are credited for the first time, who worked between about 1880 to the present. Acoma pottery has evolved significantly in form and decoration over the past seven hundred years, each change reflecting the interplay of many factors, including advances in technology, individual innovations, changing markets, and the evolving uses of pottery vessels. The book is a comprehensive illustrated survey of Acoma pottery at a depth and level of detail that has never before been achieved, and will be t

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Book SynopsisA major new history of craft that spans three centuries of making and thinking in Aotearoa New Zealand and the wider Moana (Pacific). Paying attention to Pakeha (European New Zealanders) , Maori, and island nations of the wider Moana, and old and new migrant makers and their works, this book is a history of craft understood as an idea that shifts and changes over time. At the heart of this book lie the relationships between Pakeha, Maori and wider Moana artistic practices that, at different times and for different reasons, have been described by the term craft. It tells the previously untold story of craft in Aotearoa New Zealand, so that the connections, as well as the differences and tensions, can be identified and explored. This book proposes a new idea of craftone that acknowledges Pakeha, Maori and wider Moana histories of making, as well as diverse community perspectives towards objects and their uses and meanings.Trade Review'Crafting Aotearoa is ambitious, to say the least. Across 460-plus pages it surveys three centuries of craft in New Zealand and the broader Pacific, examining its role in defining cultural identity, and the tensions and transformations that occur as it engages with outside knowledge and practices ... a delight to dip into. For a significant work, it carries its load lightly' - New Zealand Geographic; 'Crafting Aotearoa charts it all, providing an important overview of all things cut and carved, stitched and sewn, hammered and hewn to build a uniquely New Zealand story of cultural change' - Sally Blundell, New Zealand Listener; '... first and foremost an acknowledgement of history as it should be acknowledged: a kind of retelling that is resolved to start a 'dynamic conversation' between Maori, Pakeha and wider Moana Oceania (Pacific) craftspeople and their work ... it's a wellspring of knowledge on what has constituted three centuries of making in New Zealand' - Urbis; 'An indispensable, encyclopaedic and comprehensive reference to three centuries of craft in New Zealand, Crafting Aotearoa manages the difficult task of marshalling the contentious categories of craft, art, folk art, design and indigenous practices in a way that will surely set the standard for future scholarship ... Although there have been sporadic books on craft in Aotearoa before, this is the first of its scope, and for a reference work it is surprisingly readable and not at all bogged down in its scholarship or the ever-volatile politics of craft' - Paul Wood.Table of ContentsContents 8 Introduction 18 Chapter 1 Craft and island nations 23 The Ancestors of the Arts, Tevita 'O Ka'ili 30 No Tangaroa ke tena Marae: Connecting with Oceania, Julie Paama-Pengelly 39 The Exchange of Kula Feathers, Tarisi Vunidilo 43 Pulotu, Hawaiki and Lapita, Hufanga `Okusitino Mahina 48 Chapter 2 Craft on board 57 Cook Samplers, Vivien Caughley 61 Blacksmithing on Guam, Michael Bevacqua 64 The Ancestry of Te Aute, Nikau Gabrielle Hindin 67 An Iconic Collectible, Donald Kerr 78 Chapter 3 Craft and belief 85 Craft and `Civilisation' at the LMS Museum, Chris Wingfield 89 Identifying Early Colonial-made Furniture, William Cottrell 96 The Art of Tuvalu Crochet: Kolose, Marama T-Pole 99 A Victorian Gothic Masterpiece, Ann Calhoun 102 `God in their luggage', Julie Adams 108 Chapter 4 Craft and the authentic 120 Needlework in the New Zealand Education System, Stella Lange 127 St Barnabas' Chapel, Norfolk Island, Ann Calhoun 141 Polynesian Corpuscles: Tracing Cultural Stratification Through Craft, Ioana Gordon-Smith 144 From Furniture Restoration to Faking Taonga, Elizabeth Cotton 148 Makea: Queen of Rarotonga, Preserver of Women's Weaving Traditions, Joanna Cobley 151 The Havelock Work: Craft and the Occult, Georgina White 158 Liberty and Co. in New Zealand, Walter Cook 161 Mary Eleanor Joachim, Bookbinder, Margery Blackman 166 The Women's Section, Moira White 168 Chapter 5 Craft and tourism 177 Souvenirs of the `Eighth Wonder of the World', Richard Wolfe 180 Crafting Kapa Haka, Tryphena Cracknell 190 A Novelty Barometer, Marguerite Hill 198 The Coral Route, Lynette Townsend 200 The Coconut Shell As Art Object, John Perry 207 Maori Culture and the Contemporary Scene, Taarati Taiaroa 211 Fashioning Souvenirs, Elizabeth Wratislav 215 The Geyser Room Experience, Michael Smythe 217 The World Came Knocking, Kevin Murray 220 Chapter 6 Craft and the modern 225 Making Do in Hard Times, Rosemary McLeod 229 `Something to See': Women's Institutes, Claire Regnault 237 Guilds and Societies in Craft Practice, Helen Schamroth 241 Theo Schoon: Bauhaus to Our House, Andrew Paul Wood 245 Joseph Churchward's Handcrafted Typefaces, Safua Akeli Amaama 256 Studio Craft and the Everyday, Moyra Elliott 262 A New Vision for New Zealand Craft, Lucy Hammonds 267 Indigenous Pacific Museums and Cultural Centres, Tarisi Vunidilo 272 Craft and the Hippie Myth, Vic Evans 278 Peter Stichbury and Abuja, Justine Olsen 288 Chapter 7 Craft and belonging 293 The Craft of Punk, Simon Swale 295 The Permanent Crucible, Benjamin Lignel 299 Craft and Conceptual Art, Warren Feeney 301 Bone Stone Shell across the Ditch, Julie Ewington 316 What Planet Do You Come From?, Rosanna Raymond 322 New Zealand Wearable Art and the Craft Conundrum, Natalie Smith 325 Words Were Loaded, Siliga David Setoga 330 Tatau as Craft, Sean Mallon 331 Crafting a Continuum, Ane Tonga 335 Mau Mahara, Philip Clarke 337 The 1983 Tokomaru Bay Weaving Hui, Christina Hurihia Wirihana 344 Pacific Men's Craft in New Zealand, Sean Mallon 346 Chapter 8 Craft in the contemporary 351 Street Craft in a Cracked City, Reuben Woods 355 From Craft Practitioners to Designer-makers, Michael Smythe 358 Crafting Make Believe, Claire Regnault 363 Contemporary Quilting Communities, Jane Groufsky 367 Slow Fashion and Craft Activism, Natalie Smith 369 More Than Just a Cup of Tea, Johnny Hui 373 The Social and Sustainably Crafted Object, Andrea Bell 381 Masi: Wedding Ceremonial Dress Practices in Fiji, Joana Monolagi 386 Performing Measina: Craft in Contemporary Pacific Performance, Lana Lopesi 389 Kowhaiwhai Ceramics, Tharron Bloomfield 394 Our Mothers Were Not Marked, Julia Mage'au Gray 400 He Rauemi Tuturu: Muka in Contemporary New Zealand Jewellery Practice, Tryphena Cracknell 409 Meliors Simms: Agent of Change, Bronwyn Lloyd 416 Casting Shadow, Chasing Light, Lydia Baxendell 422 Notes Further reading More about craft About the editors Contributors Acknowledgements Objects Image credits Index

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