The pots below all had the same glaze and firing, but were placed in different areas of the kiln. The green color on the right also occurs when firing a copper glaze in an electric kiln. Color, just like copper, depends on the stars. Light from our sun strikes objects on earth, and those objects absorb some wavelengths of light and reflect others. The wavelengths they reflect are the colors we see.
As Tyson puts it:. Thankfully, potters did not have to create the universe to make pots from scratch. Their ingredients are already present in the cosmos, swirling in the air and lurking in the earth, waiting for them. She is a senior Art major at the College of St. In this post, she describes our semester long task of trying to define the role of pottery in the contemporary art world. Guest Posting by Hannah Anderson view her Linkedin page here. High art, o ne could argue, is not functional for the consumer.
Traditionally, the function for this type of art is to sit in a museum as a masterpiece, observed through this elevated status. Low art is generally mass-produced, inexpensive, and far more available to the public. In my critical theory class, we discussed how museums have opinions on high and low art as well, and can influence how people view artwork by either appearing intimidating or more approachable.
This particular word poses the question: can high art even exist anymore? I would argue that it certainly still exists, but not in the same light in which it was originally established.
High art and low art should be adaptable terms for each new generation of artists. Low art has synonyms such as: consumerism, production, affordable, advertised, ordinary, etc.
This is a challenge many artists face today, and it creates a huge imbalance in the art world. Warren is an 89 year old, world-renowned artist. He is most at ease with his work when he knows it is being used, handled everyday and looked at often. Clay is not expensive and is made from the earth, so when does it make the transition from low to high art?
Price plays a factor into what is high and low art. This is interesting coming from a renowned artist, because his philosophy conflicts with his position in the art world; his pots resell on Ebay.
His online store is in contrast with this idea, because we take a high art approach by using professional photography equipment to shoot pots in front of a gradated background. We then use these photos to try and join the contemporary art world.
I wonder, is the Local Blend pottery high or low art? This seems much closer to low art to me. We take the same pots and put them in front of a gradated background, making them high art in a different atmosphere.
Writing about this venue has also brought him some of his biggest successes in the art world, including 2 major magazine publications. Perhaps these everyday pots will someday be elevated to a high art status? This means more of his income needs to be generated from our work on the online store.
A gas fired pottery kiln is one way to achieve cone 10 all the time yet gas kilns are much more expensive and difficult to install as they require tanks, chimneys, separate buildings etc. They either have heavy-duty electrical components or offer them as available options.
These heavy-duty electrics provide enough power kilowatts per chamber volume to hit cone 10 without too much stress. They are also better insulated than the average electric kiln for higher efficiency and slower cooling.
They are all tight and seem like they'll last a while. I have a friend that buys a lowfire clay called Wonder White, from Georgies Ceramics. He has a glaze that fits this body at cone 1. He says this body is quite hard and durable at cone 1.
He claims to have dropped a customer's pot on the black top at a Farmer's Market with out cracking or chipping. He grabbed her a duplicate just to make sure she wasn't going to get a damaged pot, but sold it the next week because it was undamaged.
Poor formulation at any temperature will fail. Vitrification of the clay body followed up with a durable glaze that fits the ware is the key to long lasting ware at any temperature. Thank you for the tips, Georgies near portland happens to be the supplier that I go to..
I am fond of their G-mix 10 and they have a cone 6 variation of it that I got to play with over the past week and they feel the same while throwing, I need to ask a few more specific questions about it to make sure its a tighter vitrification range and not like a range, thank you very much. Cone 6 pots will be every bit as durable as cone 10, as long as everything is formulated correctly. I totally agree that a cone clay is not adequately vitrified and cone 6.
Use a cone 6 clay. There are two other issues here as well, both in regards to the kiln. First, most cone 10 recipes are formulated for reduction firing, and do not look good fired in oxidation. So while your electric kiln my very well go to cone 10, you can't fire reduction in it.
So if you're not firing reduction, don't waste the energy on going to cone Second, your elements will last much longer firing to cone 6 rather than cone Lots longer.
I saw a very noticeable difference between cone 6 and cone 8 in my kilns.
0コメント