Live Form, Women, Ceramics, and Community

IF 0.2 3区 艺术学 0 ART
Moira Vincentelli.
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引用次数: 3

Abstract

Jenni Sorkin’s extensively researched book Live Form is focused broadly around the lives, work, and writing of three women potters: Margeurite Wildenhain (1896–1985), Mary Caroline (M.C.) Richards (1916–1999), and Susan Peterson (1925–2009). The wider context of the discussion creates a bold and compelling argument linking their activities to the performative and participatory practices of the avant-garde: not a place where studio pottery often sits. Admittedly, two of the women had connections with that quintessential institution of the avant-garde in the United States, Black Mountain College in North Carolina, but the approaches of all three were arrived at autonomously and move on in different directions. These women, it is argued, can be seen as proto-feminists. None are strongly identified with the feminist polemics of the third quarter of the twentieth century; rather, they are independent thinkers and doers, ploughing their own furrow. All three were practicing potters making functional vessels, but their pottery features only modestly in the canon of ceramic art. Their significance, Sorkin proposes, lies in a commitment to clay work as a holistic life experience, which they fostered through teaching, writing, and lifestyle choices.
生活形式,妇女,陶瓷和社区
詹妮·索尔金的《生活形式》一书进行了广泛的研究,主要围绕三位女性陶艺家的生活、工作和写作展开:玛格丽特·威尔登海恩(1896-1985)、玛丽·卡罗琳(M.C.)。理查兹(1916-1999)和苏珊·彼得森(1925-2009)。讨论的更广泛的背景创造了一个大胆而令人信服的论点,将他们的活动与先锋派的表演和参与性实践联系起来:不是工作室陶器经常坐的地方。诚然,其中两名女性与美国先锋艺术的典型机构——北卡罗来纳州的黑山学院(Black Mountain College)有联系,但这三人的研究方法都是自主形成的,并朝着不同的方向发展。有人认为,这些女性可以被视为女权主义者的原型。没有人强烈认同20世纪第三季度的女权主义论战;相反,他们是独立的思考者和实干家,各自耕耘。这三个人都是制作功能性器皿的陶工,但他们的陶器在陶瓷艺术的经典中只占很小的地位。索尔金提出,他们的意义在于,他们通过教学、写作和生活方式的选择,将泥塑作为一种整体的生活体验。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.20
自引率
33.30%
发文量
24
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