23rd Ceramic National Exhibition

National Art Education Association

23rd Ceramic National ExhibitionAuthor(s): Pauline JohnsonSource: Art Education, Vol. 19, No. 3 (Mar., 1966), pp. 13-15Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3190821 .

Accessed: 11/06/2014 06:47

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

National Art Education Association is collaborating with JSTOR to digitize, preserve and extend access to ArtEducation.

http://www.jstor.org

This content downloaded from 195.34.78.11 on Wed, 11 Jun 2014 06:47:00 AMAll use subject to JSTOR Terms and Conditions

http://www.jstor.org/action/showPublisher?publisherCode=naea

http://www.jstor.org/stable/3190821?origin=JSTOR-pdf

http://www.jstor.org/page/info/about/policies/terms.jsp


D CERAMIC

NEXHIBITION



PAULINE JOHNSON

There are a number of things that distinguish the Twenty-third Ceramic National show now concluding a sixteen month tour of the country, the most obvious being the large scale of many of the pots. Just as paintings have required huge canvases for their extended art forms, so has pottery experienced a new freedom in which forms have increased in size. Noticeable also is the predominance of hand-built objects. With the exception of two pure wheel thrown pieces, the award winners are hand-built slab structures. Two others are wheel thrown pieces that have been altered to a hand-built character. Generally, these hand-built pieces can be described as controlled, often polished, neither careless nor carefree, and no rented or torn forms.

Earthy colors predominate with a hesitant use of bright color, and usually in brush or splash techniques. But the freedom that permeates the scale and form is not yet evident in this phase of the art.

Founded in 1932, the Ceramic National has grown to be the most important and significant exhibition of its kind in the United States. It was organized by the Everson Museum in Syracuse beginning as a memorial to Adelaide Alsop Robineau, a pioneer American ceramist well known and admired who will be remembered by many in early publications. Since then it has expanded from New York State potters only, to include the entire country and Canada as well. Over the years a record of the development of ceramic art has been reflected in changes of style and evolution of forms.

The exhibition, now a biennial event open to potters, sculptors and enamelists, has grown in entries to where 441 pieces were selected in 1964 from over 2,100 submitted, with 319 artists represented. From this group the present traveling show has been assembled with 92 examples for the national circuit covering an itinerary of ten museums and art centers.

Fourteen of the entries were selected to share a total of $2900 in awards and purchase prizes. Among these the National Jury's Choice for Best in Show went to Win Ng for his stoneware sculpture "Retreat No. 5" a slab-built piece, about three feet tall, in muted polychrome glazes of earthy browns, greens and purples. Interesting is the fact that five of the award selections are from the West Coast, including Ng and three others in California, and one in Oregon. The rest are from the northern middle area and include four from Ohio, two from Michigan, and one each from Iowa, Wisconsin and Toronto, Canada.

The traveling exhibition is nearing the end of its scheduled showings which began in January 29, 1965 at the Museum of Contemporary Crafts in New York City. It will be at the University of Southern Illinois in Carbondale March 13-April 9, and at the Atlanta Art Association in Atlanta, Georgia April 28-May 25. Since the Ceramic National Exhibitions are a continuing effort of the Everson Museum, plans are now well underway for the 24th Ceramic National which will open in Syracuse in the late fall of 1966.

Pauline Johnson is Professor of Art and Chairman of the Division of Art Education at the University of Washington in Seattle.

PHOTOS:

Page 13: Kenneth J. Dierck (California), "Innocent City," Black stoneware relief, light gray glaze with brown and tan accents, 37y" x 54". Helen S. Everson Memorial Purchase Prize; Ferro Corporation Prize. Left: Monona Rossol (Wisconsin), hand-built ribbed stoneware vase with black slip and tan glazes, 7" x 101/2". Association of San Francisco Potters Prize. Below, left: John H. Stephenson (Michigan), "N is for Neko," top view of slab-built stoneware vase with impressed patterns and iron oxide yellow and brown glaze decoration, 6" x 13". Arcadian Landscaping Prize for Garden Sculpture. Below, right: Jan Jones (Ohio), stoneware bowl. Syracuse China Corporation Prize. Far right: Wing Ng (California), "Retreat No. 5," stoneware sculpture with muted polychrome glazes, 35" x 211/2". National Jury's Choice for Best in Show. All photos courtesy the 23rd Cermanic National Exhibition, Everson Museum of Art, Syracuse, New York.



,.~*?~, tsi . ~~j4

''.

!! . .

:t,.,



Documents

23rd Ceramic National Exhibition