While much art pottery of the 20th century was produced by companies such as Rookwood, Roseville, and Weller, some of the most innovative work came out of the private studios of independent artists, who produced one-of-a-kind pieces on production schedules of their own making.
The studio art pottery movement in the United States is primarily about objects produced after World War II, but the inspiration for many studio ceramists was George Ohr, the self-described Mad Potter of Biloxi. Ohr built his first Mississippi pottery in 1883, using clay from the Tchouttacabouffa River. He was famous for taking conventional and classic vase shapes and then deforming them, glazing them in garish and dripping colors, or both.
Another pioneer of the studio art pottery movement was Otto Natzler, who, along with his wife, Gertrud, was a mentor to fellow Californian Beatrice Wood in the 1930s and ’40s. The forms thrown by Gertrud were mostly traditional, although her spare shapes were in keeping with the Mid-century Modern aesthetic of the day. Otto’s role was to glaze his wife’s work—during their long partnership, he created recipes for more than 1,000 glazes...
As for Wood, who became known for her figurative pieces and use of lustrous glazes, she first achieved notoriety by hanging hanging out with Marcel Duchamp and the New York Dada artists in the early part of the 20th century. She came into her own as a ceramist in the late 1940s, when she moved to Ojai, a rural farming community north of Los Angeles. Wood established her studio across the street from the Indian spiritual leader Krishnamurti, which further enhanced her Bohemian reputation and allure.
In fact, Southern California was a hotbed of postwar studio art pottery. Contemporaries of Wood included potters Vivika and Otto Heino and artist Peter Voulkos, who came to Los Angeles in 1954 to teach.
For several years, Voulkos shared a studio with a former student named John Mason—both men worked on a scale never before seen in art pottery. Voulkos would stack two or three tall pots on top of one another until he had built an imposing, rough-hewn structure. For his part, Mason’s vertical sculptures left the traditions of pottery entirely behind—he was inspired by the abstract-expressionism of the 1950s.
By the 1960s, the influence of pop and figurative art was being felt by studio ceramists. Robert Arneson, who taught at U.C. Davis and became known for using his own image in heroically scaled caricature busts on pedestals, pioneered a genre of funk ceramics, which had a strong influence on the works of students such as David Gilhooly, whose comical frog sculptures never failed to elicit a smile.
Meticulous, trompe l'oeil porcelain master Richard Shaw was another graduate of Davis, while Viola Frey, whose massive, multi-colored figurative sculptures were like enormous cartoon panels, except in 3D, influenced three decades of students at the California College of the Arts.
Meanwhile, up in Seattle, Robert Sperry, Rudy Autio, Howard Kottler, and other professors at the University of Washington were mentoring artists such as Irv Tepper and Patti Warashina, who excelled at porcelain. Michael Lucero, who is best known for his hanging shard figures and massive, meticulously painted ceramic heads, came out of the same program in the late 1970s.
Other art pottery artists of note include Ken Price, Peter Shire, Roseline Delisle, Adrian Saxe, Ralph Bacerra, and Mineo Mizuno from Southern California; Ron Nagle, Bill Burke, and James Lovera from northern California; Betty Woodman from New York; Warren Mackenzie from Minnesota; Richard DeVore of Colorado; and Jun Kaneko of Nebraska.
Interviews & Articles
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