A chosen path : the ceramic art of Karen Karnes by Mark Shapiro PDF
By Mark Shapiro
Well known ceramic artist Karen Karnes has created essentially the most iconic pottery of the overdue 20th and early twenty-first centuries. The physique of labor she has produced in her greater than sixty years within the studio is awesome for its intensity, own voice, and constant innovation. lots of her items defy classification, invoking physique and panorama, pottery and sculpture, female and male, hand and eye.
Equally compelling are Karnes's stories in probably the most major cultural settings of her iteration: from the worker-owned cooperative housing of her youth, to Brooklyn university lower than modernist Serge Chermayeff, to North Carolina's avant-garde Black Mountain collage, to the Gate Hill Cooperative in Stony element, manhattan, which Karnes helped determine as an test in integrating artwork, lifestyles, relations, and group.
This booklet, designed to accompany an express of Karnes's works equipped through Peter Held, curator of ceramics for the Arizona kingdom college paintings Museum's Ceramic examine middle, deals a accomplished examine the existence and paintings of Karnes. Edited via very hot studio potter Mark Shapiro, it combines essays by way of prime critics and students with colour reproductions of greater than sixty of her works, supplying new views for knowing the achievements of this striking artist.
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Extra resources for A chosen path : the ceramic art of Karen Karnes
It was here, somewhat removed from the main operations of the school, that Karnes and Weinrib worked during their two years at Black Mountain. As the school’s ﬁnances and student body shrank, Williams became interested in building a new artists’ community. He shared his plans with some of his closest associates at Black Mountain, including Mary Caroline (M. ) Richards and the avant-garde composer and writer John Cage. Richards taught literature at Karnes and David Weinrib at Black Mountain College pot shop, 1953.
If feminism and queer theory have taught us anything, it is that sexuality and gender identity are deep mysteries played out on shifting ground. Karnes may work from her body more than her frontal lobe, but it would be an oversimpliﬁcation to see the result as feminine in an exclusionary sense. Her form-language may appear obviously womanly at ﬁrst glance, yet one can ﬁnd equally obvious corollaries in vessel forms made by Val Cushing, Richard DeVore, Robert Turner, and David Shaner, to suggest just a few male potters.
34 Mikhail Zakin has described Karnes’s late works as “the work of a woman . . 36 But Karnes’s own relationship to “female-ness” is seasoned, like so much of her character, with a healthy resistance to categorization. Karnes has always insisted on doing things her way, and her powerfully sensual vessels also resist being boxed in. If feminism and queer theory have taught us anything, it is that sexuality and gender identity are deep mysteries played out on shifting ground. Karnes may work from her body more than her frontal lobe, but it would be an oversimpliﬁcation to see the result as feminine in an exclusionary sense.
A chosen path : the ceramic art of Karen Karnes by Mark Shapiro