Ceramic Art in Indonesia

This article is about the past, the present, and the future prediction about ceramic art in Indonesia. It will discuss the Brief History of Ceramic in Indonesia, Indonesia Ceramic Art Today, and Future Prediction of Indonesia Ceramic Art. We have to admit that Indonesia’s ceramic was influenced by the West, who separated the craft and art into low art and high art. The purpose of this article, is not to discuss the detail about such dichotomy, but this article merely to describe the development of Ceramic Art in Indonesia. The research methodology is literature research and field observation trough visiting some artists studio and visited the exhibition. As the observation and research, author found, that Indonesia Ceramic Art is very well developed. We can see from the continuity of many ceramic art exhibition held in Indonesia. Future example is Indonesia Contemporary Ceramic Biennale, which will be held in Jatiwangi Art Factory, Majalengka. For further research, it is suggested that the research topic is about development of South East Asia Ceramic. Keywords ceramic art, Indonesia ceramic, ceramic biennale, ceramic exhibitio

Altered states: focus - Ashley Howard investigates the complex language of the thrown and altered vessel

Article published in Ceramic Review 205 January/February 2004 p. 38-41. This article is an edited version of the artist's MA thesis completed at the Royal College of Art, 2003

Method of making contamination-free ceramic bodies

Ceramic structures having high strength at temperatures above 1000 C after sintering are made by mixing ceramic powders with binder deflocculants such as guanidine salts of polymeric acids, guanidine salts of aliphatic organic carboxylic acids or guanidine alkylsulfates with the foregoing guanidine salts. The novelty of the invention appears to lie in the substitution of guanidine salts for the alkalai metal salt components or organic fatty acids of the prior art binder-deflocculant, ceramic processing aids whereby no undesirable metal contaminants are present in the final ceramic structure. Guanidine alkylsulfates also replace the Na or K alkylsulfates commonly used with binder-deflocculants in making high temperature ceramic structures

BUNGA TERATAI SEBAGAI SIMBOL WANITA DALAM KERAMIK EKSPRESI

Ceramic is one of the artwork that commonly known in Indonesia. The making of ceramic use the clay as it basic material and made through long process, such as shaping, drying and burning. As I mean here, ceramic artwork visualized as expressive ceramic which in its function role as decoration that can be combined with differs or natural stone, sandy, iron, bamboo and chrystal, in order to transform may idea into a real object and make people easier to enjoy this artwork. The making of this artwork based on my curiosity to Devi Saraswati, Goddesses or art and science in Hindu believe which in her appearance, this goddesses standing on lotus flower, with her four arms holding: vina, genitri, lontar and lotus. This symbolization is applied by the women that can be seen in their spirit to struggle in facing a hard life with it is many problems in any kind of place and situation. In visualizing this ceramic artwork, I took figure of lotus as main object to describe symbolic subject, which is not in it is own real figure meaning as flower, but as a symbolization of female

Ritual and setting

My research has for many years been concerned with ceremonial objects, the spaces they occupy and other associated elements (music, ritual, contemplation). Ritual and Setting allowed me to enter a wider debate, on the perception of ceramics as an art form. My aim was to examine the emotive relationship between an object and its location; also to acknowledge my own cultural heritage and to investigate how my Far Eastern approach to ceramics might sit alongside a Western architectural tradition. Ritual and Setting explores the reflective and sacramental notions of large-scale porcelain and their effect on celebrants and visitors. On a technical level the project advanced the development of surface treatments on large-scale ceramic forms in a manner not seen in contemporary ceramics in the setting of a sacred space. This placement of individual pieces around the Cathedral in a more speculative distribution departs from the more conventional approaches of ceramic artists such as de Staebler and Mongrain to insert single works in a site with prayerful intentions (e.g. the Altar) or to produce a whole body of furniture, or, as in the Matisse chapel at Vence, an entire decorative scheme. Winchester, like many cathedrals, has a long tradition of exhibiting art, but has never systematically presented contemporary craft. Ritual and Setting tested new ground for the cathedral. The event led to the hosting of a touring exhibition of ceramics by Julian Stair (2013). I intend Ritual and Setting to provide forthcoming generations with the idea that craft makers can initiate and complete exhibitions and projects outside the established arenas of galleries and shops. Traditional attitudes have hampered the opening up of ceramics as an art form. By recontextualising this work from 'historical pottery' to a public architectural setting, the project serves to re-present ceramics in a new light

Participatory Art: Ceramic and social praxis

The field of contemporary ceramic art encompasses a wide range of productions; long-established concerns with functional and non-functional expressive artefacts and sculpture have more recently been joined by installation works and site-specific interventions, ephemeral and performative pieces, and participatory art projects. The contemporary critical discourses that surround art made using ceramic materials display a range of contrasting - even contradictory - understandings that underscore the complexity of the medium, as well as the differing perspectives of its fine art and craft practitioners. In this presentation my focus is on individual participatory art practices. While I acknowledge that artists coming from fine art and craft backgrounds make use of ceramic materials and processes with essentially different approaches and attitudes, I consider how each artist’s level of knowledge of the medium impacts on the kinds of activities and level of involvement extended to participants. On the basis of my findings, and taking into account Rancière’s examination of the contradictions involving the active and passive positions of the viewer/or participant, I argue that, whenever its activities centre on the ceramics field, participatory art’s aspiration to promote new kinds of emancipatory social relations would best be served by those with a ceramics training

Don Reitz: Out of the Ashes

The writer discusses the work of ceramic sculptor Don Reitz on the occasion of an exhibition of his work at the Natalie and James Thompson Art Gallery at San Jose State University in San Jose, California, from October 28 to December 19, 2008. Over the past 50 years, Reitz has worked unflaggingly, investigating different clays, types of firing, and ceramics traditions. This master technician and unique potter opts to dramatically alter his thrown forms, manipulating classic contours by pushing, pulling, stabbing, marking, and painting

Exhibition review in The Journal of Modern Craft

Review of extensive exhibition of contemporary French ceramic art entitled “Circuit Céramique aux Arts Décoratifs: La Scène Française Contemporaine” held at Musée des Arts Décoratifs, Paris, in 2010, on the occasion of the 44th assembly of the International Academy of Ceramics

Synchronisation and Differentiation: Two Stages of Coordinative Structure

While motor skill acquisition process is regarded as development of coordination, typically regarded as synchronisation among joint movements, we found another phenomenon which we call differentiation as a consequence of synchronisation. The synchronised movement established is decomposed into several sections or modulated to be executed on different timings without breaking the coordination among them, resulting in the gain of efficiency or flexibility. In the acquisition of skills, the coordinative structure thus goes through two stages: synchronisation and differentiation. We verify in this paper our observation through our experiments and dynamical analysis of the kneading of ceramic art and playing the shaker in samba