Liz Collins’ new solo show at LMAK Gallery is full of dynamic dualities: works both hard and soft, chaotic and orderly, three-dimensional and flat.
The difference between two high-profile silver collections now on view is that Tiffany’s tips its hat to Pop Art with a Warholian inflection, while New York Silver: Then and Now mines history to produce something totally original.
Castle was a classically trained craftsman who started making sculptural furniture, broke with traditional techniques, and forged a unique, often-playful aesthetic.
The Met Breuer’s exhibition makes the case that it wasn’t just an aesthetic Sottsass unleashed on the world, but a particular way of interpreting the past and imagining the future.
Kate Wagner’s blog McMansion Hell is like a snarky DSM-IV for all that ails contemporary over-building in suburban developments.
Counter-Couture at the Museum of Arts and Design offers a new way to think about the legacy of the counterculture movement.
It goes without saying that pink is unserious. But why?
In the wisdom of a small, furniture-obsessed religious sect founded in the 18th century, we may find a way to start moving forward.
The Philadelphia Museum of Art examines the past and present of Vlisco fabrics, a symbol of our hyperconnected, postcolonial material world.
PHILADELPHIA — Of all the astonishing things Roberto Lugo has done in his career — from creating a DIY potter’s wheel and mixing his own clay from dirt in an urban scrapyard, to creating a new genre of hip-hop-inflected political porcelain — the most radical might be that he is head over heels in love with something rather uncool in the contemporary art world: skill.
The next time you find yourself hate-reading a fawning profile of a photogenic young Brooklyn potter whose hot-pink-rimmed wares are transforming the “stuffy world of ceramics into a cool new craft” (or something to that effect), navigate yourself away from there, and instead visit the website of the Museum of Contemporary Craft.
NEW HAVEN, Conn. — Leave it to a former professional studio potter to organize a wide-ranging exhibition of postwar ceramics that’s relatively free of hangups about form and function.