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Image credits: Wild Green Crafts A new study by Keyes and her fellow researchers has discovered that engaging in creative activities can significantly boost well-being by providing meaningful ...
Studio pottery is pottery made by professional and amateur artists or artisans working alone or in small groups, making unique items or short runs. Typically, all stages of manufacture are carried out by the artists themselves. [ 1 ]
Jerry Dolyn Brown (November 9, 1942 – March 4, 2016) was an American folk artist and traditional stoneware pottery maker who lived and worked in Hamilton, Alabama.He was a 1992 recipient of a National Heritage Fellowship from the National Endowment for the Arts [1] [2] and a 2003 recipient of the Alabama Folk Heritage Award. [3]
A studio potter is one who is a modern artist or artisan, who either works alone or in a small group, producing unique items of pottery in small quantities, typically with all stages of manufacture carried out by themselves. [1] Studio pottery includes functional wares such as tableware, cookware and non-functional wares such as sculpture ...
And so many people — people who come up to my table; my therapist; my friends — have been like, ‘You need to raise your prices.’” She eventually raised her price to $50, which terrified her.
Miyamura's studio pottery appears in the permanent collections of more than a dozen museums, predominantly in the United States, including the Art Institute of Chicago, the Arthur M. Sackler Gallery, the Peabody Essex Museum, the Minneapolis Institute of Arts, the Newark Museum of Art, and the Renwick Gallery of the Smithsonian Institution.
The Mungeribar Pottery's mark is a Macdonald's em impressed; Sprague's personal mark is a capital I over a horizontal separator and the Morse code for S—three dots. Some pots are signed "IanS". [20] Drawings and paintings are signed "Ian Sprague"; work signed simply "Sprague" is generally by his nephew Leslie.
Pleydell-Bouverie described herself as "a simple potter. I like a pot to be a pot, a vessel with a hole in it, made for a purpose". [8] In a letter to Bernard Leach written 29 June 1930, she said "I want my pots to make people think, not of the Chinese, but of things like pebbles and shells and birds' eggs and the stones over which moss grows.