Peter Voulkos Ceramist
The exhibition of recent stoneware vessels by Peter Voulkos at Frank Lloyd Gallery featured the sort of work on which the artist established reputation in the 1950s. The work was greeted with stunned amazement. However now it is too, but it's amazement of a different order -- the kind that comes from being in the presence of effortless artistic mastery. These astonishing vessels are truly amaising. Every ceramic artist knows that what goes into a kiln looks very different from what comes out, and although what comes out can be controlled to varying degrees, it's never certain. Uncertainty feels actively courted in Voulkos' vessels, and this embrace of chance gives them a surprisingly contradictory sense of ease. Critical to the emergence of a significant art scene in Los Angeles in the second half of the 1950s, the 75-year-old artist has lived in Northern California since 1959 and this was his only second solo show in an L.A gallery in 30 years.”These days, L.A. is recognized as a center for the production of contemporary art. But in the 1950s, the scene was slim -- few galleries and fewer museums. Despite the obscurity, a handful of solitary and determined artists broke ground here, stretching the inflexible definitions of what constitutes painting, sculpture and other media. Among these avant-gardists was Peter Voulkos.” In 1954, Voulkos was hired as chairman of the fledgling ceramics department at the L.A. County Art Institute, now Otis College of Art and Design, and during the five years that followed, he led what came to be known as the "Clay Revolution." Students like John Mason, Paul Soldner, Ken Price and Billy Al Bengston, all of whom went on to become respected artists, were among his foot soldiers in the battle to free clay from its handicraft associations.
By the late 1950s, Voulkos had established an international reputation for his muscular fired-clay sculptures, which melded Zen attitudes toward chance with the emotional fervor of Abstract Expressionist painting. Some 20 works -- including five "Stacks" (4-foot-tall sculptures) as well as giant slashed-and-gouged plates and works on paper -- recently went on view at the Frank Lloyd Gallery. This non single show is his first at a Los Angeles gallery in 13 years, although a survey of his work was seen at the Newport Harbor Art Museum (presently carries a different...
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... office of Tishman Realty. Despite this two-decade foray into bronze, Voulkos remained committed to pushing the boundaries of possibility in ceramics. From 1979 to 1984, he concentrated on firing plates and then the vessel-shaped "stacks" in an anagama, a Japanese wood-burning kiln. Inspired by the Haniwa figures and Momoyama period ceramics of Japan, Voulkos let the ash and soot from the firing process in the kiln decorate the irregular surface of the clay. "There was a certain kind of casualness about some of the Japanese ceramics that I liked. There can be a big crack in the pot caused by the kiln, and the piece becomes a national treasure," he says. The 1980s brought about a serious personal challenge, however. By mid-decade, he was forced to confront his addiction to cocaine and enter a rehabilitation facility. In 1989, he returned to his ceramic sculpture with a sense of renewed purpose and a more incisive and controlled sense of composition. During the '90s, he has regained the confidence in the process. Although retired from UC Berkeley, Voulkos still thrives as a teacher, spending about four months of each year on the road doing seminars.
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Peter Voulkos
I observed a very unique series of photographs by Vik Muniz called Seeing is Believing. Vik Muniz’s images are not simply photography but are pictures of complicated pieces of art he has produced at earlier times. Utilizing an array of unorthodox materials including granulated sugar, chocolate syrup, sewing thread, cotton, wire, and soil Muniz first creates an image, sculpturally manipulates it and then photographs it. Muniz’s pictures include portraits, landscapes, x-rays, and historical images.
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The notable French-Canadian abstract expressionist Jean-Paul Riopelle is known for his signature large-format mosaic composition to establish explosive engagement. The monumental Chevreuse II (Figure 1) in his Mosaiques series was created during 1953 to 1954, measured in 3m x 3m. This work is currently on exhibit at the Art Gallery of Ontario (AGO). The AGO decided to put up a co-exhibition of Riopelle and his romantic partner Joan Mitchell’s works, and titled the exhibition Nothing in Moderation.
The wide rimmed ring of space located at the top of the lekythos was commonly decorated with a pattern called palmette. Discovering a palmette pattern is not unusual to find on a lekythos, and many other types of ancient Greek pottery. The different variations in color, design, pattern, intricacy and brushstroke can help determine the ancient painter. Because the colors were not fired directly on the white-ground, they are not necessarily as permanent as the black gloss; therefore overtime the vivid colors and detailed decoration will
Benjamin, Walter, and J. A. Underwood. The Work of Art in the Age of Mechanical Reproduction. London: Penguin, 2008. Print.
The 1950’s have received a reputation as an age of political, social and cultural conformity. This reputation is rightfully given, as with almost every aspect of life people were encouraged to conform to society. Conforming is not necessarily a negative thing for society, and the aspects of which people were encouraged to conform in the 1950’s have both negative and positive connotations.
The innovational time of the 1950s was known for the uprising of mass culture within America. Due to the financially fluctuating years prior, Americans were unable to spend much and were excited to take advantage of the new consumer goods introduced in the 1950s. There were new movies, television programs, genres and superstars of music, new products and new ways to get them that all became frenzies with the American people. Mass culture was responsible for bringing the nation new diversity in many different areas of society, bringing out a new idea of societal a...
As World War Two came to a close, a new American culture was developing all across the United States. Families were moving away from crowded cities into spacious suburban towns to help create a better life for them during and after the baby boom of the post-war era. Teenagers were starting to become independent by listing to their own music and not wearing the same style of clothing as their parents. Aside from the progress of society that was made during this time period, many people still did not discuss controversial issues such as divorce and sexual relations between young people. While many historians regard the 1950s as a time of true conservatism at its finest, it could really be considered a time of true progression in the American way of life.
The works of art from the Archaic Period, Classical Period, and Hellenic Period developed physically and mentally, and the study of their aesthetic differences from period to period allow for a decided contrast and comparability. This interpretation has had a profound effect on the art world and that continues even in today’s world. The importance of Greek sculptures is evident in the storytelling of the gods, the people, and the culture. We use these sculptures as a tool to go back into the past of the Greek people, letting us admire how far mankind has truly come, whether it is in art or intelligence. Generation after generation has been and will continue to be able to see for themselves the society, culture and uniqueness of these periods through the wonderful sculptures that came out of ancient
The formation of the United Nations in 1945 marked a monumental success in the international political realm. It was founded to foster relations with its member and non-member states, encourage the respect of human rights, and fight to solve social, economic, and humanitarian issues. However, of all of these motives, its foundation was based primarily on creating peace and preventing conflict between members. The idea of collective security in the UN has become the heart of peace keeping within the union and all members vow to preserve peace and eliminate identified aggressors. Chapter VII of the UN charter is the impetus behind collective security and provides the legal foundation for the UN to eradicate all threats to the peace.
Mark Rothko is recognized as one of the greatest artists of the twentieth century and during his lifetime was touted as a leading figure in postwar American painting. He is one of the outstanding figures of Abstract Expressionism and one of the creators of Color Field Painting. As a result of his contribution of great talent and the ability to deliver exceptional works on canvas one of his final projects, the Rothko Chapel offered to him by Houston philanthropists John and Dominique de Menil, would ultimately anchor his name in the art world and in history. Without any one of the three, the man, the work on canvas, or the dream, the Rothko Chapel would never have been able to exist for the conceptualization of the artist, the creations on canvas and the architectural dynamics are what make the Rothko Chapel a product of brilliance.
1. Hunter, Sam and Jacobs, John. Modern Art, 3rd Edition. The Vendome Press, New York, 1992.
During the post WWII period in America, the face of the nation changed greatly under the presidency of Truman and Eisenhower. America underwent another era of good feelings as they thought themselves undefeatable and superior over the rest of the world. Communism was the American enemy and American sought to rid the world of it. Because of the extreme paranoia caused by Communism, conformity became an ideal way to distinguish American Culture from the rest. Conformity became a part of every American Life to a large extent. It became evident through the medium of culture, society and politics throughout the era of the 50s.
Vanitas, found in many recent pieces, is a style of painting begun in the 17th Century by Dutch artists. Artists involved in this movement include Pieter Claesz, Domenico Fetti and Bernardo Strozzi . Using still-life as their milieu, those artists and others like them provide the viewer with ideas regarding the brevity of life. The artists are giving us a taste of the swiftness with which life can fade and death overtakes us all. Some late 20th Century examples were shown recently at the Virginia Museum of Art in Richmond, Virginia. Among the artists represented in this show were Miroslaw Balka (Polish, b. 1958), Christian Boltanski (French, b. 1944), Leonardo Drew (American, b. 1961), Felix Gonzalez-Torres (American, b. Cuba, 1957- 1996), Jim Hodges (American, b. 1957), Anish Kapoor (British, b. India, 1954), and Jac Leirner (Brazilian, b. 1961).
The process of reforming the United Nations (UN) has been a highly debatable issue among the international community. Since the initial signing of the UN Charter in 1945, the world has changed dramatically as the UN is trying to regulate a forum that assesses and deals with global issues while also struggling to unite all 193 member states of the UN when some states have been seen to have conflicting ideas and personal agendas (Teng, 2003, pp. 2-3). This essay is targeted to highlight what I feel are the most pressing arguments for UN reform amongst the international community. This will be done by highlighting the problems and ongoing issues surrounding the lack of representation and P5 power of the United Nations Security Council (UNSC), arguing that the UNSC is out of date and controlled egotistically. This essay will also highlight the humanitarian aspect of the UN and the role it plays in meeting and solving complex global problems. This will be done by showing reform propositions in the aforementioned councils in the UN in hopes of showing how reform will be achieved.