The cfile.library launch has been a busy start as we refine, organize, and add a new publication every week for our members to enjoy. We wanted to give our cfile.daily subscribers a peek at the benefits of membership, access to our unparalleled resource for contemporary ceramic art. Below are samples of our six newest ceramic exhibition catalogs and Ebooks, highlighting Christine McHorse, Marie Torbensdatter Hermann, Brad Miller, Daisy Youngblood, Sueharu Fukami, and Paul Mathieu. Click the images to view a handful of pages for free. If you like what you see, be sure and explore the entire cfile.library with our free 2-week trial.
It is you, our readers and members, who are shaping the future of contemporary ceramics. With your support we can continue to be a guide in an exciting field that is flourishing with new layers and trends.
Christine Nofchissey McHorse: Dark Light
Albuquerque: Fresco Fine Art Publications, llc, 2013
109 Pages
McHorse’s sensuous forms carry eyes on a journey over black mud, reduction-fired curls and coils of Navajo history. In 2013 McHorse’s work traveled to museums around the U.S., reaching an international audience for the first time. This 109-page book includes the work from her historic traveling exhibition, draft sketches of pots, and an essay co-written by Garth Clark and Mark Del Vecchio with respect to the historical and social context of McHorse’s work. The catalog earned an Independent Publisher Book Award in 2013. View Sample Catalog
Marie Torbensdatter Hermann: A Gentle Blow to the Rock
Hong Kong: Galerie NeC nilsson et chiglien, 2013
64 pages
In her 2012 exhibition at Galerie NeC nilsson et chiglien, Marie Hermann arranged a white cup of seamless, mass-produced essence, an abstracted teapot, and an object that resembles a stone with obvious fingerprints side-by-side. On wooden shelves and tableaus, the objects are displayed in mass quantity. Hermann successfully conjures and obscures the collective human experience of eating a meal around a kitchen table. View Sample Catalog
Brad Miller: Primordial Algorithms
Los Angeles: Edward Cella Art + Architecture, 2011
43 pages
In his 2011 show at Edward Cella Art + Architecture, Miller brought together materials of heft— clay, steel and wood— in a bold body of work paying homage to branching systems such as coral, bubbles, or the infinite digital facets of the Internet. These organic and inorganic growth structures are presented as patterns on the surface of pottery and plywood and are in a balancing act with Miller’s own intuitive sense of design. All of the media in Miller’s show was exposed to fire, a natural process committed by hand whether by kiln or butane torch. View Sample Catalog
Daisy Youngblood: Ten Years
New York: McKee Gallery, 2015
39 pages
Youngblood’s environment is indispensable to her work; she uses stone pieces and wood chunks that she finds in the forest around her home to build her animal and human forms— gorilla, cheetah, young girl, etc.— creatures that appear both threatening and docile, both dead and alive. Essential to her work is the belief that “life runs through everything,” including stone, clay, and driftwood. This catalog from Youngblood’s exhibition with McKee Gallery gives us a taste of the moving work that Youngblood produced between 2006 and 2015. View Sample Catalog
Sueharu Fukami: Erik Thomsen
New York: Erik Thomsen LLC Asian Art, 2008
92 pages
Sueharu Fukami was raised in the Japanese pottery district of Sennyū-ji, where in his youth he worked for the family’s Noborigama kiln. Now he is one of the most important and well-known Japanese ceramic artists. This 2008 catalog from Erik Thomsen Gallery contains a biography of the artist, an essay by Hans Bjarne Thomsen, images, and an index of the seals that he impressed on his wooden boxes and used to sign his work. View Sample Catalog
Paul Mathieu: The China Syndrome
Burlington, Ontario: Art Gallery of Burlington, 2016
29 pages
Mathieu first visited China in 2003 for a residency in Jingdezhen, the world capital of porcelain. In his work at Lee Chin Family Gallery, Mathieu photographed nudes from different angles, in a variety of positions, then arranging the photographs digitally on “virtual vases”. Sometimes he arranged the photographs in strips, in the style of Eadweard Muybridge’s running horses. Other times they were inspired by famous Manet and/or Velasquez nudes. The virtual vases were then emailed (presumably) to craftspeople in Jingdezhen whom Mathieu hired to hand paint blank porcelain forms as copies of the virtual vases. View Sample Catalog
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