Modernist Transference by Max Farago and Camille bidault Waddington shot at Alvar Aalto’s Maison Louis Carré
[October 24 2016] : Congratulations to the legendary photographer #williameggleston who will be honoured tonight with a benefit party and auction by @aperturefnd in New York. Photo with #charlotterampling by @juergentellerpage shot for Purple Fashion S/S 2007 issue 7 #purplediary
San Francisco artist Ron Nagle has made ceramic art since the days of the California Clay Movement in the mid-1960s. Under-recognized because he uses a minority art form and a small format, Ron Nagle is nevertheless a master of this delicate art, which has recently become fashionable. Nagle pioneered the ironic ambiguity we see now among art, design, and decoration (like the Italian Memphis Group’s designs) — and even pastry and jewelry. His time has arrived.
text by JEFF RIAN
photography by DANIEL TRESE
Copyright Ron Nagle and courtesy of Matthew Marks Gallery, New York and Los Angeles
Ron Nagle (b. 1939) was a ceramics major in college who went on to become one of the innovators of contemporary ceramics, best known as the California Clay Movement or the American Clay Revolution. Foremost among its innovators were Robert Arneson (1930-1992), who made figurative objects, many of which were surprisingly realistic, and comic self-portraits, some larger than life; Ken Price (1935- 2012), who made small, geometrically abstract stoneware objects; and Peter Voulkos (1924-2002), who pieced together large clay sculptures, as tall as two meters, which he called “stacks.” For 50 years, Nagle, who apprenticed with Voulkos, has been making small, abstract, colorful ceramics as varied as cars, clothes, food, and plants. He doesn’t like to be labeled a ceramicist. He’s an artist.
Ceramics is a detail medium, mashed together from inside to outside. A metaphor for Adam’s clay, pottery, porcelain, clay works, and ceramics are considered to be as derivative as Eve’s rib from the sturdier body called Art. Ceramics are seen as domestic or utilitarian art forms rather than heroic or magisterial ones. It’s a fragile art, like ancient pottery, Renaissance ceramics, Asian vases, and Fabergé eggs; these highly crafted objects are set in vitrines in a side gallery in museums. It’s not simply that they are small. Picasso’s small bronze Glass of Absinthe, from 1914, used to sit in a vitrine at the Museum of Modern Art in New York alongside Jasper Johns’ Painted Bronze of two cans of Ballantine Ale, from 1960 — the museum’s version of grandmother’s dining room display. Ceramics are not stone, bronze, or iron; they are earthy, soft, and breakable, and rarely withstand the forces of time. They are female and commercial, not male and heroic. Ergo, it’s not serious art; it’s a sideline attraction, and a second...
[October 24 2016] : ArtView the gallery
“Sharps” curated by Rebecca Fin Simonetti and Kathleen Dycaico at MAW Gallery presented five performances that explored personal relationships with an analytical edge. Hayley Martell described fictitious strangers, asking the audience how they saw themselves in the scene. Whitney Mallett performed a Highland Dance around a mannequin boasting “World’s Greatest Dad”, humorously questioning ways we excel for familial attention. Jerome Bwire and Gina Chiappetta chanted “incriminate the intimate” from within an amorphous cocoon, masking masculine and feminine energies in a struggle of fear, aggression, and trust. Nick Broujos and Josh Nukem explored the transformational qualities of friendship through magical thinking and brotherly rivalry. The evening culminated with Read More
Photo Elise Gallant