High Degree Education Of Ceramic Art

Schools across America are cutting Fine Arts programs left and right due to budget cuts and reduced funding, which is preventing students the ability to have an equally standardized arts education. About 95% of schools in America have eliminated or reduced their fine arts program’s funding. According to a report released by the PCCY only 149 out of the 268 public schools in Philadelphia have a choral teacher and 59% of them have an art teacher (Davis). These schools that lack fine arts teachers have felt the need to reduce faculty in order to pay for other expenses. This prevents students from receiving the benefits associated with a fine arts education. In addition, two out of every ten schools don’t have a choral or an art teacher (Davis).

My role as a teacher is to create stimulating classes giving the learners the opportunity to develop and achieve skills associated with ceramics practices. I start by firstly understanding the assesment criteria set out by the AS board,

All artists are influenced by the culture they are from. Our experiences and the environment in which we were raised shapes us, and thus the works we produce as artists. This essay will discuss, compare and contrast two artists from different cultures, and their ceramic artworks, with a focus on how their cultural background has influenced their art. The artists that will be discussed are Janet Fieldhouse, who is influenced by her Torres Strait Islander heritage and Aboriginal artist Dr. Thancoupie Gloria Fletcher.

This course will enable the student to understand the historical, social, and psychological factors involved in the creation of works of art through an

Porcelain has a reputation, and gets treated as one of the most fragile and expensive materials money could buy. Anything that is made of porcelain is a real piece of art especially to whoever owns it. While reading an excerpt from the Seattle art museum online I found that the exact time and place of the creation of the first Chinese porcelain has not been firmly established. It is reported as early as 600 AD is when the creation of high fired ceramic wares was producing white ceramic material that was known as porcelain. Porcelain can take the credit for what was considered cross-cultural encounters for many centuries. They used porcelain as a vehicle for designs and ornamental motifs between Asia and Europe. Those little works of art have also influenced traditions in other countries that have been witness to the amazing artistic features of porcelain design. Having a very nice set of china myself, I now understand the reasoning behind protecting such valuable property. I would like to be able to see firsthand some of the masterpieces that may be roaming throughout the great country of China.

Australian ceramics has experienced an exciting evolution over the past 60 years, when ceramics was first offered as a full-time course at RMIT in 1947. At that time, the “high priests” of pottery were Shoji Hamada o f Japan, and Bernard Leach in the UK, who shared similar philosophies and aesthetic values. Leach wrote “The Potters Book” which was to become the ‘bible’, or text of choice for the many tertiary institutes around Australia who were opening up ceramic courses to satisfy the growing demand for training in what was seen to be an alternative career path in Australian arts during the post WWII years.

The writer went to the Leepa-Rattner Museum at Tarpon Springs campus of St. Petersburg College. Before the visit, one went to the museum webpage and read about the museum and current exhibitions. It showed the " East meets West: New Japanese Traditions." Therefore, one was expected to see the Japanese style of art, like dragon and Japanese cherry blossom. At the beginning, one's feeling was perplexed, because the exhibitions were a mismatch with one's thought, but one could find the section for the Japanese art. In addition, this paper will cover about the museum, its artifacts, and relationship between humanities and art.

The title of the exhibition is called “Intersection: World Arts, Local Lives.” This exhibition opened on September 30, 2006. Some of the pieces displayed on this exhibition were not new, since Professor Brown had already gone over them. The exhibition contained a divination board, vessels, male and female figures, masks, headdresses, staffs, textiles, among others things. The art pieces were from different parts of the world. The exhibition is divided into four different sections, each with its own theme. The different themes were Art and Action, Art and Knowledge, Art and Power, and Art and Transformation. The art found in the museum seemed like it didn’t have any crack, dents, or breaks on them. Professor Brown showed the class some pictures of art pieces that had some broken

Ancient art is pivotal to understanding the societies they came from. The subject, the methods used, and even the materials are all indicative of the culture and environment in which the art was produced. The Stela of Iku and Mer-imat and a marble statue of Venus exemplify this very idea. Both works act as windows to the mindset of the different cultures that contributed to their establishment.

A good strategy to keep history alive is to attract younger visitors to the museum. According to H. Park, education and enjoyment are not mutually exclusive. Enjoyment can help the educational system by teaching children Roman history through art and games. The Arbeia museum makes workshops for children where they can explore history by using real artefacts. Therefore, the museum gives children the opportunity to learn in an interactive way by pretending they are real archeologists or Roman soldiers. The children can also learn sketching and drawing techniques which can give them inspiration to learn about the Roman empire. This is a good strategy of preservation and teaching respect to the past because it uses pleasant activities. What is more, the museum keeps secondary schools involved as well, by designing archeological workshops where children can put their knowledge from school into

Art from the ancient world is a window into the past. It can take numerous forms and have various meanings, some obvious and some hidden. The art can represent anything from a trophy to a sacred object. The one thing they all have in common was the artisans desire to create something special. This paper will examine and discuss specific pieces of art from six distinct ancient cultures by comparing and contrasting a chosen object from each respective culture.

With the rapid growth of economy , more and more people only emphasize economy ,but not are aware of cultural education. We usually said: You are cultural quality .Therefore, education not only is important , but also necessary .Of course, in order to improve our cultural quality ,we established the Project Hope to appeal to us, let’s action.

By working at the Wortendyke Studio and Gallery Kuhn was able to improve on his ceramics capabilities which then led to Kuhn enrolling at Indiana University of Pennsylvania in 2008. While in graduate school Kuhn’s sculptural had grown where he had practiced through trial and error which led to his success represented in Figure 1 and 3. “The artists that influenced my thesis work were Aline Favre, Toshiko Takeaezu, Claude Champy, Mark Luethold, and I am sure a few more.” When looking at the inspirations Daniel Kuhn has a passion to bring an oriental side to his craft, Kuhn’s pieces of work have both the side of craft and art seen in Figure 1,2,3, and 4. What is so interesting about Kuhn is how he brings together different styles in the mediums of ceramics and photography by bringing mental and physical forces to shape how he and others are human beings. One of the reasons of joy Kuhn has in practicing this skill is to tell a story through imagery of his photography and the canvas is the sculptural clay. The physical element of the clay is portrayed as rigid and rough, on the other hand, the imagery brings a smooth picture of what Kuhn’s experiences in the past and present. The strongest factor when looking at the sculpture has a hidden meaning of the physical roughness and approach of the imagery can only be described by the creator. Kuhn has described his work

As a transfer student to this University I had the pleasure of prior experience with ceramics, the medium I hold dear and near to my heart. Yet, it wasn’t until I came to Southern that I realized the true potential of this craft, for I had only ever thought of ceramics in its application of functional wares. Over the course of my studies here at the University of Southern Mississippi I have branched out and away from potting and into the world of Fine Art. It is here that I have been developing my skills in both the ceramics and sculpture areas. Within each I created bodies of work disassociated from one another in an attempt to separate my courses. However, it was through pushy professors from both courses of study that I have been able to reach the level of craftsmanship and concept found in my senior show.

The Chinese contemporary art history is only 30 years, but it has gone through almost all the genres of western art history.Like the Chinese economy, it changes and grows so fast, especially during 2003 to 2008, that it attracted the global attention.The latest 5 years, the whole environment of Chinese contemporary art has been changing, the new trend has emerged.This article will explain the change of Chinese contemporary art in the recent 5 years from politics, economy, public engagement, artist career prospect of view.