Instalacion artcut 2009 para windows 10 crear disco virtual
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Historically, the world of ceramics has been divided into different and often rival camps. I make pots because I want to, and any extra attention I get for doing so is a dividend, not a goal. My work may not titillate the “poterati,” but that is not why I make pots. I am responsible for my work, and, with my wife Carol, who is my business partner, we are responsible for our economic wellbeing. I make pots to please myself I love making pots. It is important that we aspire to the highest standards, but it is not necessary to wait for positive criticism before recognizing the value of what we do. Advocates can help explain and endorse a potter’s work and place it within a wider historical and cultural context certainly, artists and craftspeople need all the champions, all the encouragement, they can get. They illustrate the role functional pots play in our culture. These pots are independent of me they are finding their own way and accumulating histories with various people, in various homes, in various places around the world."ĭo these stories and images of ordinary people using pots validate the cultural and aesthetic relevance of functional pottery? Yes, I think they do. They are objects of service and conduits between people.
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Through repeated use, pots can become habit-forming and comforting, creating memory for those using the pots. Because of this intimacy, we let our guard down around pots, allowing them to convey ideas about aesthetics, function, and social issues. "In part, I am a potter because I see pots as having the incredible privilege of being part of people’s private, everyday lives. Here is an illustrative statement from Ayumi Horie’s emblematic web page, “Pots in Action,” that is representative of what I like to call the Neo-Functional Movement, I know I am not the only contemporary functional potter who has experienced this. It is a direct and simple reward to know my aesthetic has touched her life. A woman I know was sitting behind me at my daughter’s homecoming basketball game the other day she tapped me on the shoulder and said she was still enjoying using the mug I picked out for her ten years ago. She is sick and takes pills daily to keep her alive, and she sips water from my mug to swallow down her medicine. My mugs are valuable beyond their monetary worth, because people tell me so - one customer even said that one of my mugs saved her life.
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Until it sells, however, I’ll use it every day. My mug is worth every penny of the asking price, though I would be quite willing to give half of the money to whomever sells it. I have a favorite mug I use every day that I value at $6 million, $300,000 more than the highest price ever paid for a piece of contemporary ceramics. My soul is at stake each time I squeeze eloquence out of dirt. My reasons for making pots are complicated and keep changing, but make them I do, and make them I will. My pots are expressions of my individuality they illuminate the world they rage against it they fascinate me with their myriad details. I am neither a ceramic artist nor a sculptor: I am a potter and I am proud. I do not want to make non-functional pots I tried it once and I did not like it, neither the process nor the outcome. I am a maker of mugs, pitchers and plates, among other things. Putting the Fun Back into Functional Pottery In this essay he attempts to reclaim functional pottery from the critics who have dismissed it. I am a relative newcomer to Garth's writing, but Hewitt has been an avid reader of ceramics periodicals and journals for many years and has been an admirer of Garth's writing even when at odds with some of its content. This essay was first published in Ceramics Monthly (June 2007) and I think it fits well in this blog because Mark Hewitt has been "Wrestling with Garth" for many years.