Japanese Contemporary Ceramics

The thirteen examples of Japanese contemporary ceramics from the Carol and Jeffrey Horvitz Collection on view at the Center for Visual Communication display new forms created by artists with a deep respect for earlier craft and tradition. The ancient and contemporary meet as vessels and sculpture.

Starting in 2008, the Horvitz collection has introduced contemporary Japanese ceramics to thousands of visitors and to the Japanese art departments of American museums. The response exceeded their expectations, as public display has encouraged more collectors to purchase contemporary Japanese ceramics than ever before. The Horvitz collection currently has several different exhibitions installed in art museums in the United States and Canada, and there are continuous loans to twenty museums, with over nine hundred ceramics lent in the past decade.

Japan has many more potters than anywhere in the world. Their technical abilities and stylistic approaches are collectively finer than Western counterparts. In Japan many potters enjoy an elevated status in which their names are widely known and they can support themselves with their craft. Conversely, many potters from the Western Hemisphere mostly support themselves by teaching and do not have as many opportunities to sell their work on a large scale.

The Japanese cultural interest in the art of ceramics centers around the centuries-old tea ceremony (chanoyu). The tea ceremony was established in the sixteenth-century by Sen no Rikyu (1522-1591), who is noted for the concept of wabi, chanoyu (wabi-cha). Participants in the tea ceremony are hold the tea bowl for lengths of time, observing it in a meditative and focused way. Chanoyu became an art form that embodies the Japanese spirit, where beauty is seen with the heart and imperfection can be viewed as beautiful. The way tea is served promotes an active calm, stillness within the present moment.

Japan was opened to the West in 1854 by Commodore Perry, and Japanese ceramicists exhibited their work in at least ten expositions internationally between 1871-1904. The worldwide view of these pieces showed a taste for traditional designs, with porcelains being favored. The start of modern Japanese ceramics was established with a growing individualism during the Taisho Period (1912-26), and flourished during the Mingei, Japanese Folk art movement, (literally, “hand-crafted art of ordinary people”) in the late 1920s.

The Horvitz Collection has many fine examples of pieces for the tea ceremony, like teabowls and water jars (mizusashi); the ceramics seen at the Center for Visual Communication exemplify the individual creator fired into clay form.

Four ceramics on view by Wada Morihiro (1944-2008) provide a glimpse of his organic and abstract use of shapes in the final structure of his pieces. Many pieces have multiple clay slips worked all-over in repetitive patterns and abstract designs creating his signature outcomes, fracturing traditional motifs.

Matsui Kosei, a Living National Treasure executes his pieces in the neriage style, multi-colored marbled ware. Neriage style has its historical origins in Tang China from the seventh-tenth centuries. By banding and combining differing colors and clay types together Matsui created a uniform style. He first saw examples of the neriage ware in the Tokyo National Museum, which has early Chinese examples from the Tang and Nothern Song periods.

Lake Biwa, a short distance from Tokyo, is home to Japanese husband and wife potters, Hoshino Kayoko and Hoshino Satoru. They share a studio on the first floor of their self-built house. Kayoko uses white and red clay from Shigaraki but the red clay is no longer the same as it was in the past. In the United States clay is mixed from powders, but the Japanese have relied on clay from a regional source they dig up themselves. Sources of the clay are drying up and like many other natural resources. Kayoko’s sculptures evoke ancient ceremonial implements, creating abstract forms but also include an ideal of the surrounding landscape of Mount Horai. She has said that she tries to express the monumentality of her surrounding landscape in her work. Satoru sees his work as a collaboration between the natural world and humans, which he finds intrinsically Japanese. In 1986 a landslide destroyed his previous studio, hence his practice of respecting nature, “If you ignore it, a disaster will happen.”

With fellow ceramicists, Yagi Kazuo (1918-1979) and Suzuki Osamu (1926-2001), Yamada Hikaru (1923-2001) formed the avant-garde ceramic group, Sodeisha (Crawling through Mud Association). The group was formed with two other artists in 1947 but these three remained creating a fifty-year alliance lasting from 1948-1998. This period of artistic exploration gave rise to artists breaking from past traditions, searching for edgy and new creative ideas. Yamada was trained early on as a wheel-based potter by his father, and in 1955 he exhibited his first ceramic form with a closed mouth, turning away from the idea of function and highlighting form. His later sculptures have webs of perforations providing secondary “borrowed landscapes”.

Fujino Sachiko began her artistic studies as a fashion designer. She later became a ceramic student of Tsuboi Asuka (b. 1932), an influential female ceramicist who founded the Women’s Association of Ceramic Art, “Joryu Togei”. Fujino’s technique of folding and tucking her clay work reflect her knowledge of the folds of fabric.

Sakiyama Takayuki has his home on the Izu Peninsula. Here, the rugged coastal beaches leave behind patterns comparable to raked Zen gardens inspiring him to recreate the same spiraling beauty in his works.

Traveling Exhibitions Organized by Center for Visual Communication

Bunny Yeager (1929 -2014) is the legendary photographer, model, swimsuit designer and author who led the change in America’s approach to sensuality during the explosive cultural shift of the 1950’s and 1960’s. Her widely published photographs of iconic pin-up model Bettie Page catapulted both Page and Yeager to fame. Yeager’s centerfold photo of Bettie Page for Playboy Magazine, the first of many, launched Yeager’s photographic career. Yeager became one of Miami’s most sought after models and was featured on the cover of US Camera in 1954 as “ The World’s Prettiest Photographer”. She wrote and designed over 30 books on her photos, methods and techniques, working up until her last year.

Yeager’s boundless creativity and fierce independence as a woman in a man’s industry gave her the power to show women as they wanted to be seen. Throughout her sixty year career she produced an extensive body of work with fresh and candid viewpoints founded on the trust she gained in her subjects. Her groundbreaking self portraits, subject of a solo show at the Andy Warhol Museum, set the stage for the next generation of artists who reinvented themselves for the camera.

Includes: Twenty-eight gelatin silver photographs requiring approximately 110 to 130 linear feet for display. Fees: Rental fee is available upon request. Borrower covers shipping and insurance. Contact exhibitions@visual.org.

Carlotta Corpron

Carlotta Corpron’s groundbreaking light experiments pushed photography in new directions. Her skill as a designer, her nuanced sensitivity as an educator, and her inquisitive independence drove her exploration of new ways to use the medium as an expressive tool. Corpron’s photographic work of the late 1930’s and early 1940’s anticipated what was to become one of the most important movements in 20th century art – abstract expressionism.

Corpron first started using the camera to study natural forms and patterns, but soon set herself on a path to freeing the photographic image from its roots recording and reproducing reality. This bold new direction, using the medium for abstraction, flew in the face of established realms of photography – soft focus pictorialism, the hard image of f64, and social document. Alfred Stieglitz, whom she visited in New York in 1945, had planned to show her work but he died the next year before an exhibition could be mounted.

Corpron’s later work was informed by the philosophy of the Bauhaus and she was acknowledged by two of its members who had emigrated to the US. László Moholy-Nagy gave several workshops she organized in Texas and she received encouragement from György Kepes from MIT. Corpron was included in Steichen’s seminal 1951 MOMA exhibition Abstraction in Photography and was the subject of a solo show at the Art institute of Chicago in 1953.

But Corpron’s trajectory was so radical and divergent from the mainstream that it wasn’t until the late 1970’s, after retirement as an art and design professor at Texas Women’s University, that Corpron began to receive recognition. This exhibition celebrates the powerful body of work she produced and her fiercely independent eye.

Includes: Thirty-six gelatin silver photographs requiring approximately 110 to 130 linear feet for display.
Fees: Rental fee is available upon request. Borrower covers shipping and insurance. Contact exhibitions@visual.org.

Mangrove Coast Photographs by Barry Fellman

Barry Fellman’s Mangrove Coast is an ongoing project focusing on the coastal region of South Florida hit by Hurricane Andrew over 25 years ago. The photographs tell the story of the lengthy recovery process for our natural ecosystems after a major hurricane impact. They show the importance of the mangrove habitat in protecting our lives, our land, and the marine life that inhabit it.

Fellman’s images share a thrill and curiosity about place through the element of surprise and the excitement of discovery. The photos seduce you, inviting you closer to understand them. As you approach basic notions of scale and distance remain a mystery until your nose is nearly pressed against the surface. Then the images clarify into familiar forms of sea grasses, shells and shallow tide pools. You realize you are looking at fantastic views of the shoreline by the beach.

The growing impact of climate change on the size and intensity of hurricanes has been documented from the 1970’s to the recent mega-storms that are still seared in our collective memories  – Maria, Irma, Harvey, Sandy, Katrina and Andrew. These hurricanes highlight the trend of larger and more intense cyclonic activity that has resulted from global warming. The increased destructive power of these storms, due to higher wind speeds and greater precipitation, also exacerbates sea level rise.

These images portray the spirit of place by connecting with our appreciation of the natural environment. Fellman’s aim is to strengthen these connections, which he says are crucial to preserving the mangrove habitat, the lowest and most critical level of the food chain for coastal communities worldwide.

Includes: Nineteen Archival Pigment Prints requiring approximately 200 to 225 linear feet for display.
Fees: Rental fee is available upon request. Borrower covers shipping and insurance. Contact exhibitions@visual.org

Traveling Exhibitions Organized by Center for Visual Communication

Carlotta Corpron

Carlotta Corpron’s groundbreaking light experiments pushed photography in new directions. Her skill as a designer, her nuanced sensitivity as an educator, and her inquisitive independence drove her exploration of new ways to use the medium as an expressive tool. Corpron’s photographic work of the late 1930’s and early 1940’s anticipated what was to become one of the most important movements in 20th century art – abstract expressionism.

Corpron first started using the camera to study natural forms and patterns, but soon set herself on a path to freeing the photographic image from its roots recording and reproducing reality. This bold new direction, using the medium for abstraction, flew in the face of established realms of photography – soft focus pictorialism, the hard image of f64, and social document. Alfred Stieglitz, whom she visited in New York in 1945, had planned to show her work but he died the next year before an exhibition could be mounted.

Corpron’s later work was informed by the philosophy of the Bauhaus and she was acknowledged by two of its members who had emigrated to the US. László Moholy-Nagy gave several workshops she organized in Texas and she received encouragement from György Kepes from MIT. Corpron was included in Steichen’s seminal 1951 MOMA exhibition Abstraction in Photography and was the subject of a solo show at the Art institute of Chicago in 1953.

But Corpron’s trajectory was so radical and divergent from the mainstream that it wasn’t until the late 1970’s, after retirement as an art and design professor at Texas Women’s University, that Corpron began to receive recognition. This exhibition celebrates the powerful body of work she produced and her fiercely independent eye.

Includes: Thirty-six gelatin silver photographs requiring approximately 110 to 130 linear feet for display.
Fees: Rental fee is available upon request. Borrower covers shipping and insurance. Contact exhibitions@visual.org.

Mangrove Coast Photographs by Barry Fellman

Barry Fellman’s Mangrove Coast is an ongoing project focusing on the coastal region of South Florida hit by Hurricane Andrew over 25 years ago. The photographs tell the story of the lengthy recovery process for our natural ecosystems after a major hurricane impact. They show the importance of the mangrove habitat in protecting our lives, our land, and the marine life that inhabit it.

Fellman’s images share a thrill and curiosity about place through the element of surprise and the excitement of discovery. The photos seduce you, inviting you closer to understand them. As you approach basic notions of scale and distance remain a mystery until your nose is nearly pressed against the surface. Then the images clarify into familiar forms of sea grasses, shells and shallow tide pools. You realize you are looking at fantastic views of the shoreline by the beach.

The growing impact of climate change on the size and intensity of hurricanes has been documented from the 1970’s to the recent mega-storms that are still seared in our collective memories  – Maria, Irma, Harvey, Sandy, Katrina and Andrew. These hurricanes highlight the trend of larger and more intense cyclonic activity that has resulted from global warming. The increased destructive power of these storms, due to higher wind speeds and greater precipitation, also exacerbates sea level rise.

These images portray the spirit of place by connecting with our appreciation of the natural environment. Fellman’s aim is to strengthen these connections, which he says are crucial to preserving the mangrove habitat, the lowest and most critical level of the food chain for coastal communities worldwide.

Includes: Nineteen Archival Pigment Prints requiring approximately 200 to 225 linear feet for display.
Fees: Rental fee is available upon request. Borrower covers shipping and insurance. Contact exhibitions@visual.org

Bunny Yeager (1929 -2014) is the legendary photographer, model, swimsuit designer and author who led the change in America’s approach to sensuality during the explosive cultural shift of the 1950’s and 1960’s. Her widely published photographs of iconic pin-up model Bettie Page catapulted both Page and Yeager to fame. Yeager’s centerfold photo of Bettie Page for Playboy Magazine, the first of many, launched Yeager’s photographic career. Yeager became one of Miami’s most sought after models and was featured on the cover of US Camera in 1954 as “ The World’s Prettiest Photographer”. She wrote and designed over 30 books on her photos, methods and techniques, working up until her last year.

Yeager’s boundless creativity and fierce independence as a woman in a man’s industry gave her the power to show women as they wanted to be seen. Throughout her sixty year career she produced an extensive body of work with fresh and candid viewpoints founded on the trust she gained in her subjects. Her groundbreaking self portraits, subject of a solo show at the Andy Warhol Museum, set the stage for the next generation of artists who reinvented themselves for the camera.

Includes: Twenty-eight gelatin silver photographs requiring approximately 110 to 130 linear feet for display. Fees: Rental fee is available upon request. Borrower covers shipping and insurance. Contact exhibitions@visual.org.

Traveling Exhibitions Organized by Center for Visual Communication

Mangrove Coast Photographs by Barry Fellman

Barry Fellman’s Mangrove Coast is an ongoing project focusing on the coastal region of South Florida hit by Hurricane Andrew over 25 years ago. The photographs tell the story of the lengthy recovery process for our natural ecosystems after a major hurricane impact. They show the importance of the mangrove habitat in protecting our lives, our land, and the marine life that inhabit it.

Fellman’s images share a thrill and curiosity about place through the element of surprise and the excitement of discovery. The photos seduce you, inviting you closer to understand them. As you approach basic notions of scale and distance remain a mystery until your nose is nearly pressed against the surface. Then the images clarify into familiar forms of sea grasses, shells and shallow tide pools. You realize you are looking at fantastic views of the shoreline by the beach.

The growing impact of climate change on the size and intensity of hurricanes has been documented from the 1970’s to the recent mega-storms that are still seared in our collective memories  – Maria, Irma, Harvey, Sandy, Katrina and Andrew. These hurricanes highlight the trend of larger and more intense cyclonic activity that has resulted from global warming. The increased destructive power of these storms, due to higher wind speeds and greater precipitation, also exacerbates sea level rise.

These images portray the spirit of place by connecting with our appreciation of the natural environment. Fellman’s aim is to strengthen these connections, which he says are crucial to preserving the mangrove habitat, the lowest and most critical level of the food chain for coastal communities worldwide.

Includes: Nineteen Archival Pigment Prints requiring approximately 200 to 225 linear feet for display.
Fees: Rental fee is available upon request. Borrower covers shipping and insurance. Contact exhibitions@visual.org

Bunny Yeager (1929 -2014) is the legendary photographer, model, swimsuit designer and author who led the change in America’s approach to sensuality during the explosive cultural shift of the 1950’s and 1960’s. Her widely published photographs of iconic pin-up model Bettie Page catapulted both Page and Yeager to fame. Yeager’s centerfold photo of Bettie Page for Playboy Magazine, the first of many, launched Yeager’s photographic career. Yeager became one of Miami’s most sought after models and was featured on the cover of US Camera in 1954 as “ The World’s Prettiest Photographer”. She wrote and designed over 30 books on her photos, methods and techniques, working up until her last year.

Yeager’s boundless creativity and fierce independence as a woman in a man’s industry gave her the power to show women as they wanted to be seen. Throughout her sixty year career she produced an extensive body of work with fresh and candid viewpoints founded on the trust she gained in her subjects. Her groundbreaking self portraits, subject of a solo show at the Andy Warhol Museum, set the stage for the next generation of artists who reinvented themselves for the camera.

Includes: Twenty-eight gelatin silver photographs requiring approximately 110 to 130 linear feet for display. Fees: Rental fee is available upon request. Borrower covers shipping and insurance. Contact exhibitions@visual.org.

Carlotta Corpron

Carlotta Corpron’s groundbreaking light experiments pushed photography in new directions. Her skill as a designer, her nuanced sensitivity as an educator, and her inquisitive independence drove her exploration of new ways to use the medium as an expressive tool. Corpron’s photographic work of the late 1930’s and early 1940’s anticipated what was to become one of the most important movements in 20th century art – abstract expressionism.

Corpron first started using the camera to study natural forms and patterns, but soon set herself on a path to freeing the photographic image from its roots recording and reproducing reality. This bold new direction, using the medium for abstraction, flew in the face of established realms of photography – soft focus pictorialism, the hard image of f64, and social document. Alfred Stieglitz, whom she visited in New York in 1945, had planned to show her work but he died the next year before an exhibition could be mounted.

Corpron’s later work was informed by the philosophy of the Bauhaus and she was acknowledged by two of its members who had emigrated to the US. László Moholy-Nagy gave several workshops she organized in Texas and she received encouragement from György Kepes from MIT. Corpron was included in Steichen’s seminal 1951 MOMA exhibition Abstraction in Photography and was the subject of a solo show at the Art institute of Chicago in 1953.

But Corpron’s trajectory was so radical and divergent from the mainstream that it wasn’t until the late 1970’s, after retirement as an art and design professor at Texas Women’s University, that Corpron began to receive recognition. This exhibition celebrates the powerful body of work she produced and her fiercely independent eye.

Includes: Thirty-six gelatin silver photographs requiring approximately 110 to 130 linear feet for display.
Fees: Rental fee is available upon request. Borrower covers shipping and insurance. Contact exhibitions@visual.org.

Wynwood Diary Photographs by Barry Fellman

This private web page is for use by Staff only.
These images may not be used or reproduced without permission.
Wynwood Diary Progress Photographs     Credit: Photo by Barry Fellman Courtesy Center for Visual Communication, Miami

Wynwood Diary Photographs by Barry Fellman

This private web page is for use by Staff only.
These images may not be used or reproduced without permission.
Wynwood Diary Photographs     Credit: Photo by Barry Fellman Courtesy Center for Visual Communication, Miami

Wynwood Diary Photographs by Barry Fellman

This private web page is for use by Staff only.
These images may not be used or reproduced without permission.
Wynwood Diary Photographs     Credit: Photo by Barry Fellman Courtesy Center for Visual Communication, Miami

Wynwood Diary Photographs by Barry Fellman

This private web page is for use by Staff only.
These images may not be used or reproduced without permission.
Wynwood Diary Photographs     Credit: Photo by Barry Fellman Courtesy Center for Visual Communication, Miami

Wynwood Diary Photographs by Barry Fellman

This private web page is for use by Staff only.
These images may not be used or reproduced without permission.
Wynwood Diary Photographs     Credit: Photo by Barry Fellman Courtesy Center for Visual Communication, Miami