Conference: ‘Visual & the Verbal’ Occasioned by Barry Exhibition

Posted in conferences (to attend), exhibitions by Editor on August 31, 2010

The Visual and the Verbal in the Eighteenth Century
University of Kent, 5 November 2010

Sponsored by the Paul Mellon Centre

The conference is being organised in conjunction with the exhibition In Elysium: Prints by James Barry, co-curated by Ben Thomas and Jon Kear. The conference will conclude with a drinks reception and exhibition viewing. Attendance at the conference, reception and exhibition is free but spaces are limited to 50. Please contact Jennie Batchelor (J.E.Batchelor@kent.ac.uk) to reserve a place. Places will be allocated in order of date of application.

9:00-9:30 Registration
9:30-10:00 Jenny Uglow (Kent), ‘Hogarth and Fielding: an Irregular Alliance’
10:00-11:00 Peter de Bolla (King’s College, Cambridge), ‘The Necessity of Judgement’
11:00-11:30 Coffee/tea break
11:30-12:30 John Barrell (York), ‘War and the Moral Economy in North East Wales, 1794’
12:30-13:30 Lunch (provided for speakers only)
13:30-14:30 Harriet Guest (York), ‘The Death of James Cook and the American Crisis’
14:30-15:30 Michael Rosenthal (Warwick), ‘Describing the Colony: The British in New Holland, c. 1788-1823’
15:30-16:00 Coffee/tea break
16:00-17:00 Michael Phillips (York), ‘No. 36 Castle Street East: A Reconstruction of James Barry’s House, Painting and Printmaking Studio’
17:30 Drinks reception and viewing of the exhibition In Elysium: Prints by James Barry

North Carolina Earthenware Opens in Milwaukee

Posted in exhibitions by Editor on August 31, 2010

From the Milwaukee Art Museum:

Art in Clay: Masterworks of North Carolina Earthenware
Milwaukee Art Museum, 2 September 2010 — 17 January 2011

Old Salem Museum & Gardens, 21 March — 14 August 2011
Colonial Williamsburg, 26 September 2011 — 24 June 2012

Sugar Pot, Alamance County, North Carolina, 1790–1800. Lead-glazed earthenware. H. 10 in. Courtesy, Old Salem Museums & Gardens. Photo by Gavin Ashworth.

Slipware, sculptural bottles, faience, and creamware are all part of the rich artistic legacy of North Carolina’s first earthenware potters. During the last half of the eighteenth century, artisans of European descent introduced a variety of old-world ceramic traditions to the Carolina backcountry. From storage and cooking vessels with deeply rooted antecedents to sophisticated ornamental ware with Islamic, Asian, and European overtones, the work of these artisans was as diverse as the culture it helped sustain. North Carolina potters transformed the simplest of materials into vessels of practical utility, astonishing beauty, and cultural and religious significance.

Art in Clay is the first major survey of these earthenware traditions and features more than 150 objects. The exhibition explores, among others, work related to the multi-generational Loy family tradition, which originated in France, and that by Moravian immigrant potters who were trained (or influenced) by Gottfried Aust. Aust (American, b. Germany, 1722–1788) was a master potter trained in Saxony, Germany, who later found a home in the North Carolina Moravian missionary settlement. Superior in quality to the pottery the early American colonists were creating, the slip-decorated earthenware, though utilitarian, represented the religious beliefs for which their makers had once been persecuted, and allowed the settlers to maintain a sense of cultural identity in the new world.