Maren Kloppmann

Bronze black and white porcelain wall installation sculpture by Maren Kloppmann

2016

Maren Kloppmann (German, b. 1962) is a ceramic artist living and working in Minneapolis, Minnesota. Serene in palette and refined in form, Kloppmann’s work strikes an elegant balance...

Maren Kloppmann (German, b. 1962) is a ceramic artist living and working in Minneapolis, Minnesota. Serene in palette and refined in form, Kloppmann’s work strikes an elegant balance...

Bodil Manz (Danish, b. 1943) is a ceramicist known for her predominant use of ultra-thin, translucent eggshell porcelain to create distinctive cylindrical forms, anchored by bold, geometric abstractions in a style evocative of Russian Suprematism. Much in the way Morandi approached a still life or Albers the square, her engagement with the cylinder form ad infinitum is study in the master’s ability to extract sublime nuance from the seemingly quotidien. In her own words – “Focusing and concentrating on a single object such as a sphere, a square, a cylinder, a cup, fundamentally something quite ordinary, the stuff of everyday life, [seems] indeed almost banal. But during the process we discovered fresh aspects, and suddenly ‘the ordinary’ became a new experience. Bodil Manz’s work is included in many important museum collections including: the Museum of Modern Art New York, Victoria and Albert in London, the Los Angeles County Museum of Art, the Musée de Sèvres...

Bodil Manz (Danish, b. 1943) is a ceramicist known for her predominant use of ultra-thin, translucent eggshell porcelain to create distinctive cylindrical forms, anchored by bold, ge...

Babs Haenen (Dutch, b. 1948) is a ceramic artist living and working in Amsterdam. Haenen creates expressive sculptures that give equal importance to color, line, and form. Taking inf...

Bodil Manz (Danish, b. 1943) is a ceramicist known for her predominant use of ultra-thin, translucent eggshell porcelain to create distinctive cylindrical forms, anchored by bold, geometric abstractions in a style evocative of Russian Suprematism. Much in the way Morandi approached a still life or Albers the square, her engagement with the cylinder form ad infinitum is study in the master’s ability to extract sublime nuance from the seemingly quotidien. In her own words – “Focusing and concentrating on a single object such as a sphere, a square, a cylinder, a cup, fundamentally something quite ordinary, the stuff of everyday life, [seems] indeed almost banal. But during the process we discovered fresh aspects, and suddenly ‘the ordinary’ became a new experience. Bodil Manz’s work is included in many important museum collections including: the Museum of Modern Art New York, Victoria and Albert in London, the Los Angeles County Museum of Art, the Musée de Sèvres...

Hung Yi was born in Taichung, Taiwan in 1970. The artist’s works are inspired by Taiwanese culture or day-to-day life in Taiwan. In the 1990s, it was popula...

Perry Haas is a ceramic artist making functional pottery and focusing on wood-firing techniques. Drawing from a love for the wood-fired ceramic surface, Perry looks to anticipate the...

Perry Haas is a ceramic artist making functional pottery and focusing on wood-firing techniques. Drawing from a love for the wood-fired ceramic surface, Perry looks to anticipate the...

My work is concerned with the relationship of humanity and nature. I conceive of an expanded concept of “Nature” as embodying all existence, both the seen and unseen, socio-politica...

Colourfield by EDMUND DE WAAL (b. 1964) Ten glazed porcelain vessels Largest 9.2 high x 19.9 cm in diameter (3 ⁵/₈ x 7 ⁷/₈ inches) Impressed with the artist's...

A sculpture by Theaster Gates. "Stand-Ins for Period of Wreckage 25" is a contemporary sculpture, white concrete and porcelain by American, Blue Chip artist Theaster Gates. The artwork is unsigned. Theaster Gates' practice includes sculpture, installation, performance and urban interventions that aim to bridge the gap between art and life. Gates works as an artist, curator, urbanist and facilitator and his projects attempt to instigate the creation of cultural communities by acting as catalysts for social engagement that leads to political and spatial change. Gates has described his working method as “critique through collaboration” – often with architects, researchers and performers – to create works that stretch the idea of what we usually understand visual-based practices to be. For his exhibition at Milwaukee Art Museum exhibition in 2010, for example, Gates invited a 250 strong gospel choir into the galleries to sing songs adapted from the inscriptions on pots by the famous 19th century slave and potter 'Dave Drake'. For the 2010 Whitney Biennial, Gates transformed the Whitney’s Sculpture Court with a spare, architectural installation that functioned as a communal gathering space for performances, social engagement, and contemplation. For the duration of the exhibition Gates collaborated with various creative practitioners on a series of 'monastic residencies', holding live events such as the session by Gates' musical ensemble, the Black Monks of Mississippi. In another recent exhibition at Seattle Art Museum, Gates transformed the gallery into an audio archive entitled 'The Listening Room', incorporating a hand-built DJ...