Museum Behavior Etiquette - AMOCA · Museum Rules of Behavior and Etiquette The purpose of these rules is to ensure that all students, visitors, teachers, and patrons of the American

MuseumRulesofBehaviorandEtiquetteThe purpose of these rules is to ensure that all students, visitors, teachers, and patrons of the American Museum of Ceramic Art facilities have access to and use of the museum facility in an orderly, peaceful, safe, and educational atmosphere.

A student/visitor engaged in the following behaviors will be asked to stop the behavior and may be reprimanded by museum staff or be asked to leave the museum. The museum asks all teachers or group leaders to go over the following rules and etiquette procedures with their students, staff, and chaperones before their scheduled visit to the museum.

We request a two‐week advance notice on all tours. We suggest having one adult chaperone for every 10 students. Having name tags for

each member of your group helps us get to know you. Regardless of the number of adults, we expect all classes to be orderly and well‐behaved.

Students and visitors should not engage in disorderly conduct, harassing, or annoying behavior. Please keep your hands and feet to yourself at all times especially within the gallery area of the museum.

Touching or handling any art piece or artifact without permission or assistance from the museum staff or authorized volunteer is strictly prohibited.

Making noises such as talking loudly to others or in monologues, shouting, singing, or engaging in boisterous behavior during tours is not allowed. Students and visitors should be encouraged to listen and follow the directions of museum staff and volunteers during their visit to the museum.

Misuse of the museum’s furniture or equipment is strictly prohibited in all areas. Teachers, students, and chaperones are not to remove, relocate, or reposition museum equipment or facilities such as tables, bookshelves, benches or other permanently placed equipment without permission of museum staff and volunteers.

The use of audible equipment, such as radios, portable gaming devices, i‐pods, portable televisions or similar sound‐producing devices is strictly prohibited in gallery areas during any tour. Cellular telephone users are asked to be considerate of others and to confine their calls to the museum entry area, no text messaging is allowed during a docent led tour.

Bringing food or beverages into the museum unless authorized and scheduled with museum staff as part of your museum visit is strictly prohibited. Absolutely no food beverages, candy or gum is allowed in gallery areas during museum visits.

Making use of the restrooms for any purpose for which they were not intended is strictly prohibited. Students should be chaperoned in restroom areas and under the supervision of teachers and chaperones at all times during their visit to the museum.

Photography is allowed during your visit!

NotetoTeachers:

The American Museum of Ceramic Art is honored to present Honoring the Past, Embracing the

Future: AMOCA’s 10th Anniversary. The masterworks present the high points in the history of

ceramics, with a focus on the nineteenth century to the present. This showcase includes the big,

bold, and daring conjoined with the intimate, refined, and pristine; the handcrafted opposed with

the industrial; the abstract counterpoised with the figurative; and the vessel juxtaposed with the

sculptural.

The exhibition will give a view to the aesthetic horizon of the ceramics landscape, revealing the

achievements of the past and positing possibilities for the future. Visitors will experience the

fascinating story of three centuries of ceramic production, narrated through exemplar objects

that connect the traditional with the contemporary, transverse borders and civilizations,

embrace experimentation, and intersect, reflect, and interpret diverse cultures. This visual feast

will be told in thematic groupings that include monumental figures, over‐the‐top baroque

vessels, a parade of cups and teapots, and a circus of animalia sculptures, among other delights.

This packet includes:

The Language of the Ceramic Arts

Elements of Art

Learning to Look at Art

Viewing Art Work – General principals

Visual Elements within the art piece & Composition of the art piece

Art Literature Resources

Gallery Activities (Museum will provide enough for your class during your

tour)

Back in the Classroom Art Lessons

Pre-Field Trip Produced by AMOCA, Education Department Page 1

Ceramic Vocabulary

These are some general key terms to know when discussing Ceramic Art.

Air pockets: Enclosed air spaces within clay that must be removed for they may cause ceramic

work to explode or crack.

Bisque ware: Clay that has been fired once, at a low temperature. Clay is hard but porous and

absorbent.

Bone dry: No visible moisture and no dampness to the touch. Clay is ready to be fired.

Ceramics: Objects made of clay fired to a high temperature, over 1550 degrees F.

Clay: Fine grained earth materials formed by the decomposition of igneous rocks; plastic when

wet; strong when dry; and rock hard when exposed to red heat (fired).

Coils: Rolled, snake-like ropes of clay, joined together to build pots.

Embossment: Raised surface design on a clay piece.

Firing: To heat in a kiln (brick oven). Firing is a term used for “cooking” the clay.

Form: Three-dimensional shape and structure of an object.

Glaze: A combination of miniscule clay and glass particles mixed with water; applied to bisque

ware before firing. During the firing process this applied mixture adheres to the form, giving it a

hard, durable surface. Glazes can be colored, opaque, clear, translucent, or matte.

Greenware: Unfired clay ready or nearly ready for firing.

Hand-building: Construction processes that include pinching, coiling or building with slabs.

Incising: Surface decoration made by scratching, cutting, or carving lines into clay at various

depths.

Inlay: Surface decoration created by filling an impression in a clay surface with another clay or

slip.

Kiln: A furnace or oven built of heat-resistant materials for firing pottery. Heat is produced by

electricity, propane, natural gas or wood.


Leather Hard: Clay is too firm to bend yet soft enough to carve. It is the consistency of cheddar

cheese.

Pinch Pots: Starting with a ball of clay, the potter opens a hole with his thumb. Pinching the clay

between his thumb on the inside and fingers on the outside, a bowl shape is formed.

Plastic stage: Moist and elastic to the touch; clay that is easily manipulated.

Porcelain: A translucent, nonabsorbent body fired at high temperature. White and hard, it was

first developed in China during the 8th century.

Pottery: Pottery is one of the oldest art forms explored by mankind. There are many now-extinct

cultures throughout the world that did not use written language. For some of these civilizations

the only evidence of their daily lives comes in the form of pottery, which when left behind

provides important archeological records.

Scoring: Scratching or roughing-up the clay surface; used in combination with brushed-on slip,

scoring is a preparation step for joining two or more separate clay pieces together.

Seam: The crack formed where two pieces of clay are joined.

Slabs: Rolled flat sections of clay. Wet slabs can be draped over or into forms or rolled around

cylindrical or square forms. Slabs may be cut into shapes and joined together using the score and

slip method. This is most successful when slabs are dried to the leather-hard state.

Slip: Finely ground clay particles mixed with water. 1) Used for joining two pieces of clay; 2)

Brushed on (also called underglaze) for decorating purposes (3) May be squeezed or extruded

onto the surface for a raised effect. Slip may be colored.

Texture: The quality of a surface.

Three-dimensional: when all three dimensions (length, height, and width) can be touched and

felt.

Underglazes: Colored slip or liquid stain applied to leather hard clay or bisque ware, then coated

with a clear glaze.

Ware: Pottery pieces in the raw, bisque, or glazed state.

Wedging: A kneading process, manipulating the clay to remove air bubbles, lumps, and excess

water.


The Language of Ceramic Art

What are pottery and ceramics? Is there a difference? Is everything that is

made out of clay pottery? Are all ceramics made out of clay? Pottery and ceramics have been an important part of human culture for thousands of years. From

prehistoric storage jars to tiles on the space shuttles, pottery and ceramics have played a key role in

innumerable human endeavors. But how do we define them?

What Are Ceramics?

Technically, ceramics are some of the things made from materials which are permanently changed when

heated. For example, clay has chemically-bonded water in it which will cause it to disintegrate when a

dried clay object is put in water. Once fired (heated) to between 660⁰ and 1470⁰F (350⁰ and 800⁰C), the

clay is converted to ceramic and will never dissolve again.

All clay is a ceramic material, but there are other ceramic materials, as well. Glazes are also ceramic

materials, because they permanently change during firing. Industrial ceramics include a range of materials

such as silica carbide and zirconium oxide.

What Is Pottery?

Pottery is generally considered to be containers made from clay. "Pot" is a term used for any number of

container forms. Both words derive from the Old English potian, "to push". When we consider how the

potter pushes as they throw the clay on the wheel, it is easy to see how the process got its name. The

term "pottery" may also be used as an adjective with some objects, such as small figurines.

In industrialized countries, modern pottery can be classified two ways. There is commercial pottery or

ceramics which are produced in factories, and there is studio pottery which is produced by individual

craftsmen. You may also hear of "art pottery," which may be either produced commercially or by an

individual craftsman.

Studio pottery (studio ceramics) can be quite diverse. Production potters are most active in making large

quantities of ceramic wares such as plates, platters, dishes, bowls, and so on. Production potters can sit

down with a hundred pounds of clay and throw the same form all day. The technique of throwing off the

mound is often employed by production potters because it reduces time spent centering the clay and

moving bats on and off the wheel head.

Studio potters are more concerned with creating forms for their uniqueness and beauty. These "art"

pieces might still retain full functionality, or they may move toward being more sculptural. Many of these

are "one-off" pieces, meaning they are one-of-a-kind.


Potter, Ceramic Artist, or What?

There is not a singular term for those who work with clay. Rather the opposite is true. Some of the most

common terms are:

potter: a general term for an individual craftsman working in clay

production potter: these folk make large numbers of functional pots as their main employment

studio potters: often those who create one-off pieces but may also do production pottery

ceramic artists: those who create clay artwork

clay artist: same as a ceramic artist, but may not fire their pieces (i.e. they are working as a

designer for a commercial pottery)

ceramist: anyone who works with ceramic materials either industrially or as an individual, and

ceramic engineer: those who work (often in industry) with the chemistry and physics of ceramic

materials

A Historical Perspective of Pottery Aesthetic Throughout the ages, even before history began, pottery has been used as a medium for expression. The

earliest pottery and clay objects we have found show a true sense of artistry and aesthetic. Pottery has

been used to tell stories or emphasize them. Clay has been used to supplicate gods and kings. It has been

used to express social and religious ideals.

Beginning in the late 19th century, the Arts and Crafts movement changed the concept of pottery and

ceramics. What had been often seen as purely utilitarian became infused with an understanding of and

focus on the interaction between the potter and the clay. Art Pottery, which emphasized pottery to be

valued for its own artistic sake, was born. During the 1950’s, ceramic art took an even further digression

from the utilitarian, as studio potters reacted to and explored the ideas presented by artists working in

the abstract expressionist movement.

Ceramicists today, have the understanding that clay can be either art, or craft, or (ultimately) the marriage

of both. Artistic merit and technical expertise meld in the current world of studio pottery. Many

production potters (those who make hundreds and thousands of matching dishes for utilitarian usage)

are also engaged in making one-of-a-kind pieces that are primarily artistic and aesthetic expression.

Clay as a Sculpting Medium From prehistoric times to the present, clay has not only been used to create utilitarian items like bowls

and storage jars, but also rich works of three-dimensional art. Clay artists may work as designers for

commercial potteries, they may do sculptural work as part of their studio pottery, or they may work

exclusively as sculptors in clay.


What is three-dimensional artwork? Three-dimensional (3-D) objects have a height, width, and depth. Such works may be carved, modeled,

cast or otherwise constructed or assembled using a variety of materials. Creating ceramics is creating

three-dimensional forms. Even tiles have height, width and depth. Beyond the actual measurements of

these three dimensions, however, there are even more elements which make up the three dimensional

form. For 3-D objects, there are three elements which raised them into art, and upon which all 3-D art is

built. These foundations are subject matter, content, and form.

Subject Matter

Subject matter is the starting point for art. What will the artist "talk" about in the piece? Subject matter

is the broad theme or topic of a piece.

Content

Content is very closely related to the subject matter, and often we slide from one to the other without

being aware of it. Content can be seen as a refinement of subject matter. Once an artist has determined

the subject matter, now it is time to define what they want to say on that topic.

Content is the element of art in which an artist clearly defines what it is they are attempting to

communicate about the subject matter. What concept or set of interrelated concepts will an artist be

working to impart?

Form

Form is the culminating element in 3-D art. Without form, there is no

expression of subject or of content. Form is the physical manifestation of an

artistic vision, expression, and communication. For 3-D artists, form is much

more involved than for 2-D artists, such as painters. In this context, form allows

us as viewers to mentally capture the work and understand it.

Unlike a 2-D artwork, the 3-D artwork must serve the subject matter and the

content from a multiplicity of viewpoints. No matter how the audience moves

around the form, the artwork needs to continue to do its job of speaking to

that audience.

Form is an element of art. At its most basic, a form is a geometrical figure (i.e.: sphere, cube, cylinder,

cone, etc.) or naturalistic (meaning found in nature i.e. leaf, whale, apple, etc). Form has the ability to

become an even richer medium for the artist and experience for the audience. Not only do we as potters

and ceramists work with the 3-D form, but also the 2-D possibilities that exist in decorating or enhancing

the work’s surface. When developing the piece, the surface is an integral part of the overall piece. Surface

treatments need to mirror all the details in order to present a unified, complete three dimensional

artwork, including functional ceramic work.

Describe the characteristics of a teapot. What are teapots used for? Have the students look at an abstract

teapot. Does this still qualify as a teapot? Why or why not? Are all ceramic items functional?


Gladding McBean Factory, Tea Set, n.d.


Pick one of the images or artworks provided by AMOCA. Identify the following items:

Subject Matter (What is the artist "talking" about in the piece?):

Content (What concept or set of interrelated concepts has the artist presented?):

Form (What is the object? What is its purpose? Is it geometric or naturalistic? Describe the surface.):


Janis Mars Wunderlich, Wearing a Pretty Dress, n.d.


Peter Vandenberge, Bus Driver, 2006


Geoffrey Swindell, Vase, 1999-2004


The Elements of Art and Principles of Design

Shape

Shape pertains to the use of areas in two-dimensional space that can be defined

by edges, setting one flat specific space apart from another. Shapes can be

geometric (e.g.: square, circle, hexagon, etc.) or organic (such as the shape of a

puddle, blob, leaf, boomerang, etc.) A three dimensional object's shape can be

defined as the totality of its mass, as defined by its silhouette. Contours include

the outer silhouette of the shape, which will change as the object or the

observer moves. There are also secondary contours, which further define the

shape but are not the outer edge that is observed.

Ask the students to look at the vase from various angles. The 3-D shape of the

vase does not change. But depending on the different angles the silhouette will change. Explain to them

what a geometric shape is and what a naturalistic shape is. Can they find examples of each in nearby

cases?

Value

Value is the quality of light (tint) and dark (tone). Adding tints and tones

creates the illusion of highlights and shadows. Tint is a variety of a particular

color when white is added, while tone is a variety of a particular color when

black is added. In 3-D in particular, the value is the amount of light that is

coming to the viewer. Through the use of secondary contours, the form can

be made to create its own shadows, which are then a part of its aesthetic,

as well as sculptural, form. The greater the projections and the sharper the

edges are, the more value contrast will be created.

Use a flashlight to produce shadows so that students can view how shadows

can change the emphasis of a teapot.


Space

Broadly, space is the limitless area bounding and surrounding the shape of

the form. These are usually boundaries that are made by the artist or

craftsman and can be pushed inward and outward by simple curvatures or

planes. The greatest part of the element of space is how the piece is released

from its boundaries, whether it be in bas-relief, medium relief, high relief or

free standing (in the round). The convergence of shape and space can result

in negative space. Negative space is any open area which is surrounded or

defined by the solid physical form of the piece. Negative spaces are integral

to the form and should be considered as important as the physical shape.

Look at the cut outs in the teapot. How does the artist decide where to cut

out the clay? How does the negative space add balance to the art piece?

Texture

The texture is the quality of a surface or what may be sensed by touch.

Texture may be used, for example, in portraying fabrics. It can be explicitly

rendered, or implied with other artistic elements such as lines, shading, and

variation of color.

Describe the texture on this vessel. Explain to students how impressions are

made on clay and how everyday objects can be used to make impressions

such as buttons, screws, Starbucks coffee sleeves.

Line

A line is an identifiable path created by a point moving in

space. It is one-dimensional and can vary in width, direction,

and length. Lines often define the edges of a form. Lines can

be horizontal, vertical, or diagonal, straight or curved, thick

or thin. They lead your eye around the composition and can

communicate information through their character and

direction.

Describe the lines in this piece. How do they complement the

tea set? What do the running lines remind the students of?


Color

The primary colors are red, yellow, and blue. The secondary colors

are orange, green, and purple. Tertiary colors occur by mixing

secondary colors, or a secondary color with a primary color, or black,

or white. Color pertains to the use of hue in artwork and design. Tint

and Shade occur by adding variations in value; other tertiary colors

are derived by mixing either a primary or secondary color with a

neutral color. e.g. Red + White = Pink. Color is the quality of an object

or substance reflected to the viewer’s eyes, and usually determined

visually by measurement of hue, saturation and brightness of the

reflected light. In simple form, when light strikes an object with color, then, the color reflects back to your

eye. More light means a higher intensity level of the color. The value and hue vary when light darkens or

brightens.

Explain glazing versus painting. What happens inside a kiln when a piece has been dipped in clay? Show

an example of a piece of bisque with glaze, one fired and the other not fired. Why don’t we see a lot of

true red in ceramic works? Ask the students to find pieces in the show that are really dull in color or really

shiny. Explain the different between the glazes.

Principles of Design The principles of design describe the ways that artists use the elements of art in a work of art.

Balance

Balance is the distribution of the visual weight of objects,

colors, texture, and space. If the design has a scale, these

elements should be balanced to make a design feel stable.

In symmetrical balance, the elements used on one side of

the design are similar to those on the other side; in

asymmetrical balance, the sides are different but still look

balanced. In radial balance, the elements are arranged

around a central point and may be similar. Visual balance

can impart feelings or stability and peacefulness.

Ask the students how they think this piece was made. Does it look like it may fall over? Define symmetry

and asymmetry. Which is this? Can they find examples of each?


Proportion

Proportion is the feeling of unity created when all parts (sizes, amounts, or

number) relate well with each other. When drawing the human figure, proportion

can refer to the size of the head compared to the rest of the body. Human Body

Proportions: The Greek statutes have regulated and determined the standard of

beauty in art. These proportions, however, vary in individual cases. Nevertheless,

they are valuable as a foundation from which modifications may be made. In the

Greek statues, the height of a developed man was usually equivalent to eight

heads. In other words, the head was 1/8th of the length of the body. The height of

a woman, Greek standard, was about seven heads. For the average pot,

proportional ratios are 1:2 or 1:3, either vertically or horizontally.

Have students imagine that this piece is a functional jar. What would happen to the handle if it were used?

If the handle can’t be used, explain decorative versus functional. Can you find another piece that is meant

to be decorative?

Rhythm

Rhythm is created when one or more elements of design are used repeatedly

to create a feeling of organized movement. Rhythm creates a mood like music

or dancing. To keep rhythm exciting and active, variety is essential.

This vessel has different lines. If you compare it to music, it’s organized music.

Give the example of one child counting 1, 2, 3, and 4 and then repeat. Have

another child clap on even numbers and then a third child stomp on every 4

numbers. That is the same concept as what is happening on the line patterns in

the pot.

Emphasis

Emphasis is the part of the design that catches the viewer’s attention. Usually the

artist will make one area stand out by contrasting it with other areas. The area

could be different in size, color, texture, shape, etc. Unlike the graphic arts (two-

dimensional arts), most three dimensional objects cannot be fully seen from only

one position. In order to fully encompass a three dimensional form, students must

move around it and see it from all sides.

Ask students to describe this piece. What part of the vessel catches their eyes?

Why do they think the artist emphasized that part of the vessel?


Movement

Movement is the path the viewer’s eye takes through the work of

art, often to focal areas. Such movement can be directed along

lines, edges, shape, or color within the work of art.

Describe how the piece was made. Describe the subject in the vase

and how the artist was able to use a tool to create the lines. What

feeling do the students get when looking at it? And why?

Pattern

Pattern is the repeating of an

object or symbol all over the work of art. Repetition works with pattern

to make the work of art seem active. The repetition of elements of

design creates unity within the work of art.

Note the pattern on this bowl. How do the student think it was made? Is

the pattern random or regular? Can they find examples of each? How are they similar and how are they

different?

Variety

Variety refers to the use of several elements of design to

hold the viewer’s attention and to guide the viewer’s eye

through and around the work of art.

Have the students describe the sculpture. This sculpture

uses a variety of elements in it such as color and lines to

create a variety of patterns. Does the sculpture look

balanced?

Unity

Unity is the feeling of harmony between all parts of the work of art, which

creates a sense of completeness. When nothing competes or distracts from

the entire piece that is when unity is created.

Have the students describe an art piece. Look at the design. How does it make

them feel? Do the lines look chaotic or harmonious? Are the lines random or

regular? Does the color of the art piece distract from the form?


Art Criticism Principles Art criticism is the discussion or evaluation of visual art whether it is 2-D or 3-D. In order to fully

understand the symbols, subjects and themes affiliated with an artwork and how the work relates to the

culture and times in which it was produced, one must be familiar with its heritage; seeking answers to the

who, where, when, what and why questions. These are issues associated with art history. But in order to

appreciate the significance of this work, one must be able to identify, describe and interpret what is

actually in the work in terms of its expressive properties, and to assess, or make judgments about, the

work's personal and social values.

Critiques help students with their persuasive oral, written, information-gathering, and justification skills.

Providing direction and guidance with a critique will ensure that students stay on task and address the

purpose and objectives of the lesson.

Below is a sample set of focus questions for an art critique related to four major areas of art criticism:

description, analysis, interpretation, judgment.

Description The first step to an art critique is to describe the art piece; this is a pure description of the object

without value judgments, analysis, or interpretation. In essence, it answers the basic question, "What do

you see?" The various elements that constitute a description include:

1. Form of art whether architecture, sculpture, painting, etc.

2. Medium of work whether clay, stone, steel, paint, etc., and technique

3. Size and scale of work (relationship to person and/or frame and/or context)

4. Elements or general shapes within the composition

5. Description of axis whether vertical, diagonal, horizontal, etc.

6. Description of line, including contour as soft, planar, jagged, etc.

7. Description of how line describes shape and space (volume); distinguish between lines of

objects and lines of composition, e.g., thick, thin, variable, irregular, intermittent, indistinct, etc.

8. Relationships between shapes, e.g., large and small, overlapping, etc.

9. Description of color and color scheme = palette

10. Texture of surface or other comments about execution of work

11. Context of object: original location and date

Analysis

In this step the viewer determines what the features suggest and decides why the artist used such

features to convey specific ideas. It answers the big question, "How did the artist do it?" Teachers can

use the following example questions:

1. Are visual qualities arranged primarily symmetrically or asymmetrically?


2. Are there colors, textures or shapes that are clearly dominant because of their relative size or

repeated use?

3. What kind of implied or actual movements can be identified?

4. Determination of subject matter through naming iconographic elements, e.g., historical event,

allegory, mythology, etc.

5. Selection of most distinctive features or characteristics whether line, shape, color, texture, etc.

6. Analysis of the principles of design or composition, e.g., stable, repetitious, rhythmic, unified,

symmetrical, harmonious, geometric, varied, chaotic, horizontal or vertically oriented, etc.

7. Discussion of how elements or structural system contribute to appearance of image or function

8. Analysis of use of light and role of color, e.g., contrast, shadowing, illogical, warm, cool,

symbolic, etc.

9. Treatment of space and landscape, both real and illusionary (including use of perspective), e.g.,

compact, deep, shallow, naturalistic, random

10. Portrayal of movement and how it is achieved

11. Effect of particular medium(s) used

12. Your perceptions of balance, proportion and scale (relationships of each part of the composition

to the whole and to each other part)

13. Your emotional reaction to object or monument

Interpretation

Interpretation makes an assessment of the formal "objective" qualities in works of art. It is critical to

discerning what the work expresses. The emotions and thoughts evoked by our contemplation of the

work should be based upon what can actually be observed. If we say we are saddened by the work or

that we experience a sense of tranquility, we ought to be able to identify the sources in the work for

these responses. Interpretation answers the question, "Why did the artist create it and what does it

mean?” The various elements that constitute interpretation include:

1. Main idea, overall meaning of the work.

2. Why might these visual compositional elements have been chosen?

3. What do you think the artist is trying to achieve?

4. Can I express what I think the artwork is about in one sentence?

5. What evidence inside or outside the artwork supports my interpretation?

Judgment Judging a piece of work means giving it rank in relation to other works and of course considering a very

important aspect of the visual arts; its originality. It answers the question, “Is it a good artwork?” The

various elements that constitute interpretation include:

1. What criteria do I think are most appropriate for judging the artwork?

2. Do you like this artwork? Why or why not?

3. Where do you think this artwork belongs?

4. What value do you find in this artwork?


5. Does it convey beauty, a message, idea, or feeling?

6. Does it make an insightful connection?

7. What evidence inside or outside the artwork relates to each criterion?

8. Based on the criteria and evidence, what is my judgment about the quality of the artwork?

9. What was your first reaction to the piece?

10. After you spend some time describing, analyzing and interpreting the piece, how do you feel

now?


Art Literacy Resources

General Reference Materials for Ceramics and Art B, Pixie. "Clay Pottery Craft Projects." Making a Coil Mug. DeerLake Designs L L C, n.d. Web. 12 Sept.

2012. <http://www.pottery-magic.com/pottery/clay_projects/coil-mug.htm>.

Careers in Focus. New York: Ferguson, 2008. Print.

Children's Book of Art. New York, NY: DK, 2009. Print.

Ellis, Mary. Ceramics for Kids: Creative Clay Projects to Pinch, Roll, Coil, Slam & Twist. New York: Lark,

2002. Print.

Gonen, Rivka. Fired Up!: Making Pottery in Ancient times. Minneapolis: Runestone, 1993. Print.

Kong, Ellen. The Great Clay Adventure: Creative Handbuilding for Young Artists. Worcester, MA:

Davis Publications, 1999. Print.

Mittler, Gene A. Introducing Art. New York: Glencoe McGraw-Hill, 1999. Print.

Raczka, Bob. Artful Reading. N.p.: Lerner Group, 2009. Print.

Renshaw, Amanda, and Gilda Williams. The Art Book for Children. New York, NY: Phaidon, 2005.

Print.

Sentance, Bryan. Ceramics: A World Guide to Traditional Techniques. New York, NY: Thames &

Hudson, 2004. Print.

Staubach, Suzanne. Clay: The History and Evolution of Humankind's Relationship with Earth's Most

Primal Element. New York: Berkley, 2005. Print.

Stephens, Pamela Geiger. Puffer Learns about Ceramics. Glenview: Crystal Productions, 2013. Print.

Topal, Cathy Weisman. Children, Clay, and Sculpture. Worcester, MA: Davis Publications, 1983. Print.

Tourtillott, Suzanne J. E. 500 Cups: Ceramic Explorations of Utility & Grace. New York: Lark , a

Division of Sterling Pub., 2004. Print.

Utley, Chris, and Mal Magson. Exploring Clay with Children. London: & C Black, 1997. Print.

Documents

Museum Behavior Etiquette - AMOCA · Museum Rules of Behavior and Etiquette The purpose of these rules is to ensure that all students, visitors, teachers, and patrons of the American