Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Japan and united states cultural similarities
Cultural differences in japan and the us essay
Japan culture vs american
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Japan and united states cultural similarities
For the first assignment, I read two excerpts from Ceramics Art and Perception and one article from Ceramics Technical, the July 2017 edition. While each article focused on a different aspect of ceramics.
The first article I read from Ceramics Art and Perception, discussed a Japanese exhibit. “Two Views: Japanese Kogei, Future Forward At Museum Of Arts and Design, New York” by Jan Castro, pages 56-61.
When flipping through the magazine the porcelain skulls of Katsuyo Aoki instantly caught my attention and were the reason for me choosing this article. The author, Castro, talks about the skulls having headgear and fangs, which I did not pick up when first looking at them. However, I do see the gothic style he mentions in these sculptures. It’s clear these pieces are very modern, but yet I can still see the Japanese style in them. They sort of remind me of the dragons one would find in asian art.
…show more content…
It would have been interesting to start the article discussing the exhibit as a whole to get a wide focus and then narrow done on each piece. It was unclear why all these pieces were grouped together. The writing itself seemed like it was speaking to professionals in the industry, so it didn’t appeal to me.
Next I read “The Primeval Comic Book” by John Hughes, pages 76-79 from Ceramics Art and Perception. This article was fun to read because it was a story. It read like a children’s fable. It was a clever and interesting way to reveal a real insight into what the artist, Jenny Orchard, believes in, which gives meaning to her creations. I’m sure there aren’t many artists using clay to make creations like hers, so it’s beneficial for her to share her story of how these ideas came to life.
Then under the Ceramics Technical part of the magazine, I read the article, “From Bizen to Iowa: The Modern-day Pilgrimage” by Cate Barker, pages 52-57. Rather than discussing a piece, this article spoke of a cultural
Douglas M. Kenrick, Jomon Of Japan: The World’s Oldest Pottery (London, UK: Taylor & Francis, Inc. 1995).
The exhibition of recent stoneware vessels by Peter Voulkos at Frank Lloyd Gallery featured the sort of work on which the artist established reputation in the 1950s. The work was greeted with stunned amazement. However now it is too, but it's amazement of a different order -- the kind that comes from being in the presence of effortless artistic mastery. These astonishing vessels are truly amaising. Every ceramic artist knows that what goes into a kiln looks very different from what comes out, and although what comes out can be controlled to varying degrees, it's never certain. Uncertainty feels actively courted in Voulkos' vessels, and this embrace of chance gives them a surprisingly contradictory sense of ease. Critical to the emergence of a significant art scene in Los Angeles in the second half of the 1950s, the 75-year-old artist has lived in Northern California since 1959 and this was his only second solo show in an L.A gallery in 30 years.”These days, L.A. is recognized as a center for the production of contemporary art. But in the 1950s, the scene was slim -- few galleries and fewer museums. Despite the obscurity, a handful of solitary and determined artists broke ground here, stretching the inflexible definitions of what constitutes painting, sculpture and other media. Among these avant-gardists was Peter Voulkos.” In 1954, Voulkos was hired as chairman of the fledgling ceramics department at the L.A. County Art Institute, now Otis College of Art and Design, and during the five years that followed, he led what came to be known as the "Clay Revolution." Students like John Mason, Paul Soldner, Ken Price and Billy Al Bengston, all of whom went on to become respected artists, were among his foot soldiers in the battle to free clay from its handicraft associations.
Norton, Deborah. “Japan Unique Fiber Art: Ikebana,” Surface Design Journal 17.1 (2002): 38-45. Art Source.
The Metropolitan Museum of Art has one of the finest Asian art collections that has enlightened and strengthened my understanding in my personal art experience. The Museum itself is an artistic architectural structure that graces the entire block on 82nd Street in Manhattan. Entering inside, I sensed myself going back into an era, into a past where people traded ideas and learned from each other. It is a past, where I still find their works of yesteryears vividly within my grasp, to be remembered and shared as if their reflections of works were cast for the modern devoted learner.
The Museum of Contemporary Art Detroit (MOCAD) had three different artists work on display. It was split up into three different rooms the first room was Design 99 To Much of a Good Thing and in the next room is Latoya Ruby Frazier Mother May I and in the last room was Jef Geys Woodward Avenue. The art that was on display was not traditional art work. All of the artist’s work displayed in the Museum of Contemporary Art Detroit was out of the box thinking. The flow in each exhibit made it easy to move from one piece of art work to another piece of work.
...an picking the artifacts. Although I did learn about William Morris and his designs in my history classes I learnt about the concept behind his design decisions and in depth analysis of Morris’s evolution as a designer only when I started working on this exhibit. It is imperative that you do research before arriving on any decision in regard to putting up any exhibit. Furthermore after analyzing the different options, it is imperative that you have facts to back up your decisions of the artifacts chosen. Every artifact that you pick for your case should have direct relation to your concept and it should be consistent among all artifacts. Overall a lot of thought should be put into the exhibit and the concept must reflect the ideas distinctly.
The first time I experienced clay in depth was in my first ceramics class in college. This is where I spent hours of my time in the studio exploring. After my first soda firing, I knew that I wanted to start a career in clay. I am applying to the master’s program in ceramics to extend my knowledge of clay and to further develop my conceptual thought.
Thomas, J. W., Cooper, S. t. & Launi, C. J., 2006. Long Beach Art Deco. 12th ed. California: Arcadia Publishing.
Camille, Michael. Gothic Art: Glorious Visions. Upper Saddle River (NJ): Prentice Hall, 1996. 12. Print.
One pleasant afternoon, my classmates and I decided to visit the Houston Museum of Fine Arts to begin on our museum assignment in world literature class. According to Houston Museum of Fine Art’s staff, MFAH considers as one of the largest museums in the nation and it contains many variety forms of art with more than several thousand years of unique history. Also, I have never been in a museum in a very long time especially as big as MFAH, and my experience about the museum was unique and pleasant. Although I have observed many great types and forms of art in the museum, there were few that interested me the most.
Benton, J., DiYanni, R. (1999). Arts and Culture. An Introduction to the Humanities. Prentice Hall.
An artist's book is a "book created as an original work of art," which integrates how it is produced "with its thematic and aesthetic issues" (Drucker, 1995). However, Drucker goes on to po...
...des us with a glimpse into the ancient culture using beautiful and detailed designs. The art form has been sustained in fired clay for thousands of years indiscriminately telling its story to the world and to history.
...d the school library computers to find some articles that I found to be useful. I also found a couple of web sites that dealt with international art histories. And here are the sources I used to do my research.