Ruscha Keramik

Brutalist Moonvase Ruscha Art Vase, Fat Lava, Mid-Century Modern c. 1960

c. 1960

This large ceramic vase from the Carstens Luxus line features a rugged volcanic lava finish in an earthy shade of garnet. Stamped in the base, and numbered, with original Carstens Lu...

This naturalistic ceramic vase by Dümler & Breiden features a scalloped mouth that evokes both clams and waves, along with undulating, sand-colored glaze elements with hints of ocean...

Original 1968 poster for exploitation film legend Herschell Gordon Lewis's She Devils on Wheels. A masterful statement of 1960s graphic design, this oversized drive-in poster was acq...

Even in its earlier years, the movie industry was based around spectacle. Exploitation posters, especially those depicting drug culture, were often design...

"AR 223 - Square headed pitcher" by artist Pablo Picasso. Partially glazed white earthenware turned pitcher painted in black with 99/300 Edition Picasso on bottom.

"AR 30 - Face in a star" white earthenware clay with decoration in engobes, boring-rod engraved under glaze and blue, green, red and white ground ceramic platter by artist Pablo Pica...

"AR 495 - Visage No. 202 (Face No. 202)" white earthenware clay platter with decoration in engobes and enamel under glaze by artist Pablo Picasso. Titled and numbered No. 202 Edition...

“Untitled” ceramic, is an example of the kind of work by which John Glick became so famous. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. This piece is signed on the bottom and can be found on page 92, plate #125 in “John Glick: A Legacy in Clay.” John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery...