Ceramic Art | Medium | The Activation Map

Medium Ceramic Art

Description

Art crafted from clay porcelain or other ceramic forms including both functional and non-functional work.

Sanctuary

May 14, 2004 to June 5, 2004
Exhibition
The installation consists of numerous porcelain castings, all stemming from the departure point of a remarkably lifelike Japanese-made baby doll. The context of this work is crucial to approaching it; the exhibition has been assembled in an urban gallery in a busy postmodern metropolis. As cars rush through this industrial area, and fast-paced city life occurs outside, the artist has composed a subtle arena for contemplation that quietly asks us to reevaluate our individual ideals and values. At first glance Buddhism seems to be the dominating discipline driving the installation, but gradually one discovers a sensibility that encompasses a range of ideas that span several religious philosophies, those diverse as Christianity, Krishna and Hinduism.

April 19, 2002 to May 11, 2002
Exhibition
This exhibition of sculpture by Cuban artist Osvaldo Yero consists of wall-mounted ceramics, running water, and live plants. He makes use of symbols such as the hand, the heart, plants and tears, to use kitsch and cliche to make statements about poverty and Cuban history.

September 27, 1988 to October 8, 1988
Exhibition
Although working with brushstrokes for many years, it was while in Korea that Dancer became intrigued with the process of ink and brush drawing and its meditative preparation. This resulted in his first extended exploration of drawing: first with brush and ink, then, on his return to Vancouver, with pencil. Dancer's show at grunt consists of his drawings as well as diverse selection of his ceramic works.

September 6, 2019 to October 19, 2019
Discursive Event, Exhibition, Workshop
Anton Cu Unjieng’s intricately taped, fired, and stacked ceramics are a response to recent political actions in his homeland in the Philippines. The Duterte regime’s mass killings have been officially classified as nanlaban, Filipino for ‘fought back.’ The stack arrangements in Cu Unjieng’s work are not only a monument to the regime’s precarious strength, but also to the possibility of fighting back.