Ceramic Review Issue 284 March/April 2017  £9.90


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  • Reviews
Ceramic Review LogoStrandSubjectAuthorNotes

Daring sculpture

We visit ceramic artist Rebecca Appleby’s Leeds studio to explore the industrial inspirations behind her abstract sculpture

Katherine Caddy

 

50 million years in the making

Members of the Associated Clay Workers Union have led a project to create new ceramic works using clay unearthed during London Bridge station’s redevelopment

Diane Eagles, Alison Cooke

 

Modern master

Ceramic artist Eddie Curtis explains the evolution of his personal style, inspired by Blast Beach in his native County Durham

Eddie Curtis

 

An eye for a vessel

Our new ‘Figure in the Landscape’ series continues with curator and manager of the Craft Potters Association gallery, Marta Donaghey

Sue Herdman

 

Auction eye

2016’s highlights from the twice-yearly Studio Ceramics & Modern Design sale at Adam Partridge Auctioneers are revealed by auctioneer Jason Wood

Jason Wood

 

The artist, his wife and her pottery

Exploring the little-known story of Mary Watts, the woman behind the Arts & Crafts pottery at The Watts Gallery

Sue Herdman

 

Memories and material

We uncover the influence of art and architecture behind Isobel Egan’s intricate ceramic sculptures

Frances McDonald

 

Celebrating a century in the studio

A forthcoming exhibition at Tate St Ives looks at the changing shape of the ceramics studio over the last one hundred years

Sam Thorne, Sara Matson

 

Ten newcomers to CAL

Ahead of Ceramic Art London, we spotlight ten makers at varying stages of their careers who are all exhibiting at CAL for the first time

Isabella Smith

 

A moment in time

We explore ceramic artist Matt Sherratt’s curvaceous sculptures and contemplative making process

Alex McErlain

 

Emerging maker

CR spotted Chinese clay artist Eugene Chung at Central Saint Martins’ undergraduate show; Eugene discusses his journey so far

Katherine Caddy

 

Masterclass

Sarah Scampton explains step-by-step how she creates her finely marked and tactile forms through multiple firings

Sarah Scampton

 

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