Abstract
This paper describes and analyzes two ceramic pieces found in Mesoamerica and Peru. One is an Olmec baby figure from Mesoamerica, while the other is a bottle from the northern coast of Peru.

From the Paper
"This paper will analyze two ceramic figures that were observed during a recent visit to the Metropolitan Museum of Art in the Arts of Africa, Oceania and Americas section. Both of these ceramic figures were part ofthe Michael C. Rockefeller Collection. The Baby Figure is a ceramic piece of work of a seated plump baby, sexless, finger in its mouth, elaborate helmet or hair design..."

Tags:Pre-Columbian Art, ceramics, Peru, Olmec, Chavin, baby figure, spouted bottle, feline head bottle

Abstract
This paper looks at the system used in how to make tiles and also what capital, and business requirements would be needed to set up a tile making company in the New Jersey region.

Abstract
In this article, the writer notes that the creation of ceramics is a form of art that some describe as an art and some a craft, though how this is applied may depend on the nature of the work under discussion and the degree of artistry with which it has been designed. The writer discusses Brenda McMahon, a noted ceramic artist who works at her studio in Greenwich, New York. The writer points out that she is also noted as a teacher who guides others in how to express themselves through ceramics. The writer concludes that the works produced by McMahon are inventive and varied, with designs that are often created by the Saggar process itself rather than through the conscious action of the artist, though this does not make them any less artful. This paper includes color photographs of some of Brenda McMahon's works.

From the Paper
" The study of art in different media is important to understanding the shaping of a specific craft like ceramics. For one thing, an understanding of a broad range of types and media of artistic expression helps develop an aesthetic sense that understands design and the relationship of one element in a design to others. It becomes possible then not only to see the parts and how they fit into the whole, it is also possible to see how the whole fits into broader traditions both historic and aesthetic. The individual can begin to see relationships extending outside the work of art itself, and these relationships also help to explain the work of art and link it to other expressions in other media."

Tags:pottery, expression, saggar-fired, porcelain

Abstract
This paper will explore the development of the representation of the human figure on classical Greek ceramics. Given the sheer range and scope of the production in question, discussion will be focused on the tradition of the representation of human figures upon Athenian ceramics in particular. As will be seen, this limitation is not entirely arbitrary. While Greek pottery was dominated by Corinthian production for much of its early history, as Athens grew in commercial and political importance it began to dominate the market for ceramics in the Greek world. From about the sixth century BC onwards, it will be argued, the representation of the human figure upon Athenian pottery grew increasingly sophisticated in both technique and theme. As will be seen, gradually the rigid poses and mythological themes yielded to figures and scenes more reflective of the everyday life of the population. This increasing sophistication, to some extent, reflects the prosperity of the Athenian industry and its capacity to bring in artists from outside Athens whose talents were to transform Greek ceramics.

Abstract
In this paper, the writer examines the historical stylistic bridge that Korea represented in ceramics from China and then to Japan. The writer discusses that this style bridge formed through the evolution of ceramics that were often taken from China through what is known as Baekje period, and were then exported to Japan. The writer maintains that the exportation of Chinese ceramics into Korea during the 4th century helped to create a tradition that would slowly become far less ornate and less representative of the style of the "motherland" that had created a solid template for other cultures in the region.

From the Paper
"This style of ceramics often portrayed Chinese visual of animals or wildlife, but would invariably be more functional and utilitarian than the Chinese styles. However, the line quality of decoration and the shape of these ceramics often elude to its Chinese origins, which where then passed down through Korean and into Japan. In essence, Korean ceramics offer a ..."

Tags:japan, pottery

Abstract
This paper relates that Islamic ceramics and pottery have been traced to the 8th century, developing in key Middle Eastern civilization centers such as Iraq, Persia and Syria. The paper specifically looks at how the innovations of that period mark not only the development of the craft but give insights to how cultural and scientific development impact society together.

Outline:
Introduction
Islamic Ceramics and Pottery Traditions
Innovations
Conclusion

From the Paper
"One of the key innovations in Islamic ceramics and pottery is in their glazing methods which allowed for greater utility for incorporation in architecture as well as amalgamation of other raw materials. This was also in part a reaction to the difficulties and variances in kilning requirements due to the more arid climate in Islamic centers of civilization. Innovations in glazing included methods which utilized tin to create opaque finishes and painting with metallic luster. This trend also reached Europe through Spain via the Moors. Islamic ceramists and potters are also credited for the development of stone-paste ceramics which were made from non-refactory fired clay which produced finer texture in earthenware that were in popular use (Fehervari, 2000). "

Tags:art, trade

Abstract
This paper discusses how Robert Arneson changed the way people looked at ceramics and sculpture. The paper shows how Arneson was different; he did not accept the established rules of different art forms and he never conformed to what others thought about his work. The paper asserts that Arneson's ability to create whimsical and yet touching works gives his work a spirituality and meaning that is far greater than most ceramic pieces can ever hope to accomplish.

From the Paper
"Robert Arneson was born in Benicia, California in 1930, and was interested in art from a young age. His father encouraged him to draw, and later he became interested in ceramics. He studied art after high school and received an advanced degree in the arts, as well. One biographer notes, "Arneson became head of the ceramics department at the University of California at Davis in 1962 and became a full professor of art in 1973" ("The Art"). His view of ceramics was different, and he saw ceramics as a way to influence art, rather than just make cups and saucers and such. He had studied the expressionists as part of his art education and he enjoyed bringing new elements into his ceramic sculptures. The Editors continue, "Arneson was part of the dynamic group of irreverent California Pop artists whose work has come to be known as 'Funk Art'" ("The Art"). The artist died of liver cancer in 1992, but his work lives on in many art forms today."

Tags:sculpture, creativity, humor

Abstract
The Panathenaic Prize Amphora (accession no. 50.193) on display in the collection of the Detroit Institute of Arts is dated to around 375-70 B.C. and stands 33 inches high. It is attributed to the Asteios group and is an example of the ceramic black-figure ware that was a principal industry of Athens.

From the Paper
"The Panathenaic Prize Amphora (accession no. 50.193) on display in the collection of the Detroit Institute of Arts is dated to around 375-70 B.C. and stands 33 inches high. It is attributed to the Asteios group and is an example of the ceramic black-figure ware that was a principal industry of Athens. The amphora represents the goddess Athena on one side and four male runners on the other. The presence of the runners "indicat[es] that the prize was for the winner of a foot race" and the amphora features an inscription that specifically identifies it as a prize "From the games in Athens" ("Panathenaic").


The condition of the amphora appears to be very good. There are cracks on the side featuring the runners and abrasions on all the figures. The left thigh, and the groin and buttocks of one of the runner is orange-red rather than black. It appears that..."

Abstract
The paper discusses the works of Frank Lloyd Wright, the greatest and most influential architect in the history of American art and design who gave us some of the most beautiful and dazzling structures. The author explains how he is remembered mainly for his residential houses as he was the first architect to change the design of American houses to make them suitable for modern living although he gained fame international fame with his design of Imperial Hotel in Tokyo.

From the Paper
"American should be proud of those who have given it the reputation of being the country with most talented people. It should praise those who have added a new dimension to its art, literature and architecture. The reason being that a country is known by the people who belong to it and some of these people by the power of sheer genius can take their country to new heights of fame and pride. America boasts of numerous highly talented people in various fields, but it has only very few well-known personalities in the field of architecture and design. This is not because the country does not provide encouraging and conducive environment, but it is because of the nature of the work itself. Ceramics, Architecture and lighting may appear to be rigid fields, which allow introduction of new techniques, and style only rarely but it all depends on the magnitude of creative genius residing within the one who enters this area. Very few people in these fields art, design and ceramic work can bring dramatic changes to previous styles and design and introduce better techniques and give the country its own architectural identity. One such person was the American architect and artist, Frank Lloyd Wright."

Tags:art, architecture, culture, design, ceramic, metal, glass

Abstract
This paper reviews some of the research that explores the Lapita craftsmanship through archaeological studies. The paper outlines how researchers are unearthing truths about the people who created the pottery and lived many years ago. The paper posits that a greater volume of information about Lapita people and their ceramic skills will be forthcoming through future research.

Outline:
Introduction
The Literature
Conclusion

From the Paper
"Meanwhile, Dr. Matthew Walter Felgate of the University of Auckland has produced a 500+ page research document focused on Lapita "pottery scatters" in shallow water and lagoons in the Solomon Islands (Felgate, 2003). Felgate - who prepared his massive and mostly deep science manuscript as a fulfillment of his Doctor of Philosophy in anthropology - writes that there has existed a "large gap in the recorded distribution of Lapita." Hence, his work has involved the scientific interpretation with reference to the discoveries of Lapita pottery in the sheltered, land-locked Roviana Lagoon (near Bougainville), which is centrally located in the "gap" that he sought to define more clearly for the literature."

Tags:vessels, designs, sherds, Oceania