Contemporary Ceramics of 21st Century Japan
Spring 2021
For the Contemporary Art of Asia course at Arizona State University
Exhibition Proposal
Title: Contemporary Ceramics of 21st Century Japan
Dates: May 1 – October 31, 2021
Proposal:
Japan has had a long history of ceramics. Visitors to this exhibition will get the chance to see a wide range of ceramic works created during the 21st century by a variety of artists from Japan, which have rarely been seen in museums outside of Japan. Both men and women are represented, as well as a variety of styles, techniques, and individual designs.
Modern and contemporary ceramic works in Japan did not start until the early 20th century when the idea of individuality in ceramics, and other craft art and design became the difference between production and art. Prior to this period, ceramics were mainly produced for export and to Western countries with the process split into different sections, from manager/director to craftsman. With the start of the idea of individuality, ceramic artists began to take the whole process of creation, from design to production, as both manager and craftsman, into their own hands. However, modern and contemporary ceramics had a massive boom following World War II in about the mid-20th century. At this point, the number of women ceramicists not only increased, but also existed, as prior ceramicists were men with the exception of one or two women from time to time. Also, during this time, ceramic art, design, and production began to be taught in schools and academies. This made up the 2nd and 3rd generation of modern and contemporary ceramic artists.
Starting around the later part of the 20th century (after 1970), ceramic art took a major turn towards being considered completely contemporary, where ceramic works no longer had the name or design of vessels, jugs, boxes, or plates. They even increased in size and took more anthropomorphic and natural shapes. These ceramicists were made up of the 3rd and 4th generation of contemporary ceramic artists. With the start of the 21st century, 3rd generation contemporary ceramicists and on (which we may now be well into the 5th or 6th generation) have not only increased in number, both men and women, but have also varied in sizes, designs, colors, techniques, styles, and more that is unique to each ceramicist. However, throughout the history of ceramics, even up to today, Japanese ceramic artists and craftsman have always valued the materials and processes as a fundamental part of their work. These 21st century contemporary ceramic works, and artists are what is being featured in this exhibition.
Possible topics to market about this exhibition:
21st ceramics created by Japanese artists/artisans
From craft art to fine art / from mass production to individual artists
Traditional and modern/contemporary techniques in contemporary ceramics
Contemporary Japanese ceramics rarely seen in US museums
Female ceramicists on par with male ceramicists
No longer just useful objects, now sculptures
Individual designs
Many generations leading to these current works (some of which come from the 3rd generation)
The different techniques, colors, styles, mediums (within ceramics) used by Japanese artists today
A chance to see a variety or Japanese ceramicists coming out of Japan (if I could have added more ceramicists and their works, I would have; why did the max have to be 12 when there are so many ceramicists?)
Included Works:
Fujino Sachiko (b. 1950), 21st century Kobayashi Sawako (b. 1984),
Princess Goldfish, 2015
Fujikasa Satoko (b. 1980), 21st century Sakurai Yasuko (b. 1969), 21st century
Kitamura Junko (b. 1956), Hitomi Hosono (b. 1978), 21st century
Hanaire (Flower vase), 21st century
8 5/8 in. (21.9 cm.)
Tashima Etsuko, Takemura Yuri (b. 1980),
Cornucopia 06-XII, 2006, Teabowl “Sound of Rain”
28 3/4 x 20 1/2 x 25 5/8 inches (Wan “Amaoto no koe”), 2017,
Glazed porcelain, silver leaf
4 x 4 1/2 x 4 1/2 in.
Ikura Takashi (b. 1962), Kato Yasukage (1964 – 2012)
Where Shadow Meets Form, 2011 Oribe-glazed comma-shaped
semi-porcelain vase with textured surface, 2007
10 5/8 x 6 3/4 x 6 9/16 in. Glazed stoneware
(27 x 17.2 x 16.6 cm) 16 1/2 x 17 x 5 inches
Nagae Shigekazu (b. 1953) Takeuchi Kozo (b.1977)
Forms of Succession 2012, #1, 2012 Modern Remains, 2009
Porcelain with white glaze Porcelain
12 3/4 x 18 1/8 x 14 1/8 in. 43.8 x 38.1 x 14 cm
(17 1/4 x 15 x 5 1/2 in.)
Labels:
Hanaire (Flower vase)
21st century
Kitamura Junko (b. 1956)
Ceramic with White Slip
8 5/8 in. (21.9 cm.)
Arizona State University Gallery
ASU.10623.10
Born in Kyoto, Japan, Kitamura Junko is a female ceramicist who studied ceramics at Kyoto University, much like many other female ceramicists who learned at universities across Japan. This was due to the fact that women were not originally allowed to learn ceramics in the trade field as apprentices, so when courses opened up in universities, many women emerged in craft/art mediums (not just ceramics) that were not originally open to them. Inspired by 15th century Korean punch’ong ware and Mishima inlaying technique, Kitamura Junko uses homemade bamboo tools to impress intricate designs into a thick-walled, wheel-thrown vessel. This design is then covered in a matte black slip, fired once, and a white slip is applied to fill in some of the indented/impressed design giving her works a black and white, contrasting color scheme.
Much like other ceramic works by Kitamura Junko, this piece, Hanaire, is representative of her almost regularity in design that is actually completely organic in process. As she works, Kitamura Junko’s designs are completely of the moment and have no prior planning or drawing of what is going to be the final design on clay. In this piece, Hanaire, Kitamura Junko’s spontaneity has resulted in a wave-like design that pushes its way across and around the vessel as blank spaces (fully matte black; devoid of white) give way to denser, rolling white “dots”.
“When you look up at the moon in the night sky, you can feel its existence not only in the part reflecting the light of the sun, but also in the part that melts into the darkness and cannot be seen. It seems that the part that is invisible makes the portion we can see all the more beautiful.” - Kitamura Junko
Quote: Joan B. Mirviss LTD website
Kingyo Hime (Princess Goldfish)
2015
Kobayashi Sawako (b. 1984)
Stoneware with nerikomi
11 3/4 × 26 × 18 in
29.8 × 66 × 45.7 cm
Arizona State University Gallery
ASU.10623.21
Kobayashi Sawako, currently living in Chigasaki City, Kanagawa, Japan, studied ceramics at the Tokyo University of Fine Arts. Many of her works are more sculptural in shape and design as they take on whimsical creatures (animals) and figures (i.e., human-like, demon/spiritual), much like this piece, Kingyo Hime (Princess Goldfish). Kobayashi Sawako uses a technique called, nerikomi, which is a contemporary Japanese term meaning for a type of ceramics where the ceramicist uses colored clay to create patterns. This is probably what gives her pieces a more vibrant color palette.
In this piece, Kingyo Hime (Princess Goldfish), this figure of a princess with red hair and dress, seems as though she has no legs and is floating or gliding across water. The wavy tail that seems to come from under her dress shifts from a more reddish pink to white to different shades of blue, as though her tail gradually fades into water itself. What is interesting to note is the intricate design on the princess’ dress that is reminiscent of red fish scales with shimmering outlines and teardrops in the center, as well as the speckled, gradated colors that cover her tail. Imagine using colored clay to get that precise and yet separated look and design.
Orb (date)
21st century
Sakurai Yasuko (b. 1969)
Porcelain
Arizona State University Gallery
ASU.10623.13
Alongside Kitamura Junko, Sakurai Yasuko is one of the many female ceramicists that emerged from studying ceramic courses at universities across Japan. Sakurai Yasuko, currently living in Kyoto prefecture, Japan, works in porcelain, a more delicate, yet strong, white ceramic whose process is the most demanding. Sakurai Yasuko utilizes light and shadow by creating varying sizes in holes and an overall shape of the piece. Using a blank, white surface, her pieces feature ever more the contrast between light and shadow as the viewer walks around the piece seeing the shifts from light to dark and vice versa. In her Orb series, one of which is seen here, Sakurai Yasuko takes her love of light and shadow even further by almost enclosing her overall shape creating a greater depth of shadow on the inside.
“the large number of holes in the piece is meant to create atmosphere that changes with shifting light and shadow. The shadows are also part of the work. I enjoy creating work with forms that make the viewer aware of light.” - Sakurai Yasuko
Quote: Kazuko Todate. Fired Earth, Woven Bamboo: Contemporary Japanese Ceramics and Bamboo Art. MFA Publications. 2013.
Wan “Amaoto no koe” (Teabowl “Sound of Rain”)
2017
Takemura Yuri (b. 1980)
Glazed porcelain, silver leaf
4 x 4 1/2 x 4 1/2 in.
Arizona State University Gallery
ASU.10623.26
Takemura Yuri, born in Aishi prefecture Japan, started out learning painting, and is one of the younger generations of ceramic artists. She has taken her painterly background into the 3-dimensional world of teabowls. Though, her focus is on teabowls, her designs are completely her own as she showcases her playfulness and creativity in her shapes, colors, and overall designs that take inspiration from the process of playing music. Takemura Yuri uses a soft slip-glaze combining metallic sections with harmonious colors. The undulating waves reminiscent of sound waves takes on a variety of shapes and colors seen throughout all of her pieces including this one, Wan “Amaoto no koe” (Teabowl “Sound of Rain”).
In this piece, Wan “Amaoto no koe” (Teabowl “Sound of Rain”), Takemura Yuri combines her sound waves with the vibrant, yet more solemn colors of rain (black, blue, and silver). Her design does not just include the shape of sound waves and the colors of rain, but also the abstract, circular form of rain, dots. Though simple in design, this piece, as well as many of Takemura Yuri’s teabowls are both whimsical and usable.
Gallery Installation Plan
Cases are not covered in glass.
