Largest Exhibition of Vietnamese Ceramics in North America Opens in January ...
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(PRWEB) December 31, 2011
The largest U.S. exhibition to date of Vietnamese ceramics will open in January at the Birmingham Museum of Art , revealing another strength of our outstanding collection, and showing to the public for the first time, one of the top three finest collections of such wares in North America.
Dragons and Lotus Blossoms: Vietnamese Ceramics from the Birmingham Museum of Art is the first major exhibition of Vietnamese pottery in the United States. The exhibition is co-curated by Dr. Donald A. Wood, the BMA’s Curator of Asian Art, and John Stevenson, one of the preeminent experts in the field. The exhibition, in the Museum’s Jemison Galleries, will be on display January 22 through April 8, 2012. The exhibition is free, and open to the public.
“This is an opportunity to discover beautiful works of art that are rarely seen in the U.S.,” Wood said. “It is also an opportunity to explore the rich history of a country that not only played an important role in the recent history of the U.S., but also is a vital part of our future.”
Source: DigitalJournal.com (press release)
A look back at a life in ceramics
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, Is a tremendous exhibition, beautifully installed in Visual, the Centre for Contemporary Art in Carlow. Landweer has an unerring feeling for fine, elegant form, for balance and poise, for texture and colour, mass and materials. Put all those qualities together and it would be easy to give a false impression of her work, to make it sound too cosily nice, especially given our preconceived notions about ceramics. All those descriptive terms are accurate, and more, but there is also a rugged, underlying darkness to her vision, linked to an archaic, even primeval element.
As ceramics expert Michael Robinson puts it, Landweer’s bowls are “more Japanese than Viennese in their expressionist explorations of fire and its participation in the creative process.”
She studied Far-Eastern pottery, and the aesthetic of the Japanese tea ceremony, in which the precision and delicacy of ritual is allied with expertly made but surprisingly rough-looking ceramic tea bowls, provides a good point of reference for her overall approach. She is not afraid to harness wild, almost uncontrollable processes and materials in pursuit of elegantly poised forms and surfaces. Both aspects are crucial and come through in the finished pieces.
Source: Irish Times