BGuthrie Photos: DC -- Renwick Gallery -- Exhibit: Voulkos: The Breakthrough Years

DC -- Renwick Gallery -- Exhibit: Voulkos: The Breakthrough Years:

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Description of Pictures: Voulkos: The Breakthrough Years
April 7, 2017 – August 20, 2017
This is the first exhibition to focus on the early career of Peter Voulkos, who completely re-invented his medium of proper ceramics technique and form. Aproximately thirty-five examples from this crucial body of early work will be featured along with a specific and detailed acoount of the breakthrough works.
Voulkos: The Breakthrough Years is organized by the Museum of Arts and Design in New York City.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. SIRGVO_170428_004.JPG: Tientos, 1959 Clay and iron glazes; thrown and slab constructed, paddled, compressed, gouged, pass-throughs, sgraffito
2. SIRGVO_170428_006.JPG: VOULKOS: The Breakthrough Years Peter Voulkos (1924–2002) is arguably the most radical figure in the history of ceramics. He broke every rule in the potter's book and, in doing so, influenced a generation of artists working in clay and other media. Voulkos had a long and distinguished career, but the astounding thing is that he fundamentally transformed the field so quickly -- over the course of just fifteen years. This exhibition focuses on this period of artistic breakthrough, from 1953 to 1968. During this time, Voulkos rejected the ceramics orthodoxy of proper technique, utility, and form and instead pursued a range of ideas that were entirely new to the medium. He violently attacked the vessel form, breaking down its parts and reconfiguring them into a new visual language. He used color and contrast to disrupt the visual integrity of his objects. He built monumental sculptures, ambitious in scale and complexity. He explored other media alongside his pottery, and developed distinctive bodies of work in painting and bronze sculpture. He staged theatrical demonstrations that were almost a kind of performance art.Through it all, he continually returned to pottery forms to demonstrate their endless potential for experimentation. Today his breakthrough continues to be relevant. Ceramics have never been more popular in the art world, and Voulkos's conviction that "painting helps the sculpture, sculpture helps the painting, pottery helps both" seems ahead of its time in the way that it anticipated the cross-disciplinary habits of many of today's artists. This exhibition gives viewers the chance to encounter these crucial works afresh. Voulkos: The Breakthrough Years is organized by the Museum of Arts and Design, New York, by Andrew Perchuk, Deputy Director of the Getty Research Institute, and Guest Curator Glenn Adamson, with Assistant Curator Barbara Paris Gifford. Major funding is provided by the Henry Luce Foundation. Research was supported by a Craft Research Fund grant from the Center for Craft, Creativity & Design, Inc. The presentation at the Renwick Gallery is made possible by the Elizabeth Broun Curatorial Endowment, the Jack and Marjorie Rachlin Curatorial Endowment, and the James Renwick Alliance
3. SIRGVO_170428_015.JPG: Little Big Horn, 1959 Glazed stoneware and slip; thrown and slab constructed, paddled, gouged, perforated
4. SIRGVO_170428_024.JPG: 5000 Feet, 1958 Stoneware, thrown and slab constructed, paddled
5. SIRGVO_170428_044.JPG: EARLY WORKS, 1953–56 After military service in World War II, Voulkos went to college in his home state of Montana, where Frances Senska taught him how to throw on the wheel, process clay, and make glazes. Voulkos quickly established himself as one of America's most skilled functional potters as he won awards for his tureens, vases, and bowls. These works show how he moved past this promising but conventional beginning. He experimented with new techniques, such as the development of a wax-resist process adapted from fabric dyeing. He learned from Japanese pottery -- its asymmetry, abstract decoration, and chance effects -- and from fine art, particularly the work of Henri Matisse and Pablo Picasso. After settling in Los Angeles to teach at the Otis Art Institute, Voulkos returned to Montana in the summer of 1955. This was a key turning point, he remembered, "[I] did some stuff that was very different than I'd done a year before and it was quite a breakthrough for me . . . psychologically and even technically." Three of his first really adventurous works are shown here. The squared-off plate and vase, from 1956, show the influence of Matisse and Picasso. Both feature "slip stencil" decoration created by painting liquid clay over a heavy paper cutout and then removing it to produce a relief effect. Standing Jar reflects Voulkos's interest in contemporary painters such as Jack Tworkov and Franz Kline. Thick strips of clay act as three-dimensional brushstrokes and colored drips are allowed to trickle downward. The combination of thrown and slab-built elements soon became a cornerstone of Voulkos's process.
6. SIRGVO_170428_047.JPG: Untitled, 1958 Glazed stoneware, thrown and slab constructed, assembled, pounded, sgraffito
7. SIRGVO_170428_060.JPG: Covered Jar, about 1953 Glazed stoneware, wax-resist decoration
8. SIRGVO_170428_062.JPG: Covered Jar, 1953 Glazed stoneware and slip, wax-resist decoration, sgraffito
9. SIRGVO_170428_067.JPG: Vase, 1954 Glazed stoneware, wax-resist decoration
10. SIRGVO_170428_073.JPG: Standing Jar, about 1956 Stoneware, thrown and slab constructed
11. SIRGVO_170428_078.JPG: Plate, 1956 Partially glazed stoneware and slip, cut, slip-stencil technique, sgraffito
12. SIRGVO_170428_082.JPG: Vase, about 1956 Glazed stoneware, thrown and slab constructed, slip-stencil technique
13. SIRGVO_170428_089.JPG: Untitled, 1956 Stoneware and dioxide iron oxide with manganese, thrown and slab constructed, assembled, sgraffito
14. SIRGVO_170428_094.JPG: Rocking Pot, 1956 Stoneware and colemanite wash, thrown and slab constructed, assembled
15. SIRGVO_170428_102.JPG: POT ASSEMBLAGES, 1956–58 Most of the works in this section are from 1956, perhaps the most important year in Voulkos's artistic development. He invented a new way of working: first throwing elements on the wheel and pounding them out of the round, and then assembling and joining them, improvising as he went along. His surface painting sometimes echoes the sculptural form and sometimes disregards it and breaks up its visual integrity. Voulkos's colleague John Mason called these works "pot assemblages." They preserve the scale and formats of traditional ceramics, but also represent a complete departure from precedent. Rocking Pot is an iconic example -- a massive upside-down bowl with cut out holes and saber-like forms that penetrate the exterior walls. The sculpture is notionally kinetic, fitted with two tapered skids, a mockery of the rule that properly made ceramics should never rock on a flat surface. It is shown here alongside a related work recently acquired by the Philadelphia Museum of Art. At this time Voulkos was also establishing himself as the charismatic leader of a group of other ceramicists in Los Angeles, including Mason, Ken Price, and Paul Soldner. Like his work, the example he set for others was physical and intuitive. As Soldner put it, "he didn't lecture, he didn't teach, he just worked."
16. SIRGVO_170428_109.JPG: Falling Red, 1958 Lacquer and sand on canvas
17. SIRGVO_170428_116.JPG: Untitled, 1956 Stoneware and slip, thrown and slab constructed, assembled
18. SIRGVO_170428_121.JPG: Rasgeado, 1956 Stoneware and slip, thrown and slab constructed, assembled, sgraffito
19. SIRGVO_170428_123.JPG: Vase, 1956 Stoneware and slip, thrown and slab constructed, assembled
20. SIRGVO_170428_128.JPG: Untitled, 1958 Glazed stoneware, thrown and slab constructed, assembled, pounded, sgraffito
21. SIRGVO_170428_144.JPG: PAINTING AND SCULPTURE, 1958–59 In 1957 Voulkos began sharing a studio with John Mason on Glendale Boulevard in Los Angeles. They created a facility to produce large-scale ceramics, where they built a huge kiln, formulated a clay recipe ideal for monumental sculpture, and modified a potter's wheel to give it extra horsepower. They acquired a secondhand industrial dough mixer to prepare large amounts of clay and, to keep it from drying out, brought in humidifiers designed for California's fruit warehouses. As Voulkos stretched the medium to its physical limits, he also expanded his aesthetic vocabulary. Monolithic works such as 5000 Feet seem to reference prehistoric sculpture or piled chunks of rock. Sitting Bull and Little Big Horn are complex amalgamations of wheel-thrown and slab forms that have been paddled and gouged, while Tientos, at the entrance of the show, is cut open in places to expose the interior. The large sculptures have a novel method of composition akin to architectural construction. He extended the lessons of his earlier pot assemblages so that, as he put it, "[the] outside and inside grew together, building on themselves and each other." Voulkos energetically addressed the surface by scratching through slips and glazes or using unexpectedly bright colors, as in the iconic Cross. In 1960 Voulkos staged a solo exhibition at the Museum of Modern Art in New York, which won praise from New York Times critic Dore Ashton. She called him an "artist of exceptional vitality" and noted the importance of his background in craft to his avant-garde achievements.
22. SIRGVO_170428_146.JPG: Cross, 1959 Glazed stoneware; thrown and slab constructed
23. SIRGVO_170428_154.JPG: Plate, 1963 Glazed stoneware; torn, sliced, gouged, sgraffito
24. SIRGVO_170428_157.JPG: Plate, 1962 Glazed stoneware, torn, sliced, gouged, sgraffito
25. SIRGVO_170428_162.JPG: Josephine, 1961 Glazed stoneware and slip; thrown and slab constructed, ripped, sliced
26. SIRGVO_170428_166.JPG: PROCESS AND DEMONSTRATION, 1961–63 Commissions for large-scale works in bronze occupied a good deal of Voulkos's time in the early 1960s, but he continued to work in clay energetically and innovatively. Many of his ceramic works of this period were made in public demonstrations. Voulkos was a natural performer who loved working in front of a crowd. One observer who saw him make Josephine at Greenwich House Pottery in New York remembers how "he worked with total abandon and total focus all at the same time," first pounding the piece as it rose on the wheel, then slicing it in half, then welding it together with wet clay as he worked it with his fists from the inside, and finally splashing its surface with slip and glaze. Voulkos's demonstrations were great theater, and even the ceramic works that he was making in the studio at this time, such as a series of cracked and fissured plates, capture this sense of immediacy. They can be compared with contemporary Abstract Expressionist paintings, many of which project a similar, stereotypically masculine combination of authority and aggression. Yet Voulkos's improvisations also relate to his interest in jazz and Spanish flamenco, which he played proficiently on the guitar. "I think that working in the form of pottery is a very demanding thing. . . . The minute you touch a piece of clay it responds, it's like music -- you have to know all the structure [and] know how to make sound before you can come up with anything."
27. SIRGVO_170428_175.JPG: Red Through Black #3, 1959 Vinyl paint, sand and clay on canvas
28. SIRGVO_170428_180.JPG: Blue Remington, 1961 Vinyl paint and lacquer on canvas
29. SIRGVO_170428_186.JPG: Vase, 1959 Glazed stoneware and iron slip, thrown and slab constructed, paddled, gouged, torn, perforated, sgraffito
30. SIRGVO_170428_190.JPG: USA 41, 1960 Glazed stoneware and epoxy paint; thrown and slab constructed, seamed
31. SIRGVO_170428_194.JPG: Red River, about 1960 Glazed stoneware, slip, and epoxy paint, thrown and slab constructed, gouged, sgraffito
32. SIRGVO_170428_200.JPG: EXPERIMENTS IN COLOR, 1960–61 For Voulkos, painting and sculpture were always in dialogue. In 1960 he began making this connection more explicit by adding epoxy-based paint to the surfaces of his ceramics after they had been fired. This was a highly unorthodox maneuver by ceramics standards, but it helped him achieve some of his most complex relationships between volume and surface composition, including the rocket-like Red River, acquired by the Whitney Museum of American Art shortly after it was made. Critic Rose Slivka, an important advocate for Voulkos, summarized the synthesis he had achieved: "Greek classical culture combined with French modernism and American muscle-toting, mud-slinging, refinement and roughhouse." Also in 1960 Voulkos moved from Los Angeles to Berkeley, where he took a teaching position at the University of California. He once again inspired a following of students and young artists, among them Mary Heilmann, Jim Melchert, and Ron Nagle, who recalled the way "he'd throw a big form and step away from the wheel and he'd drop it on the floor. And then he'd make it into a pot. . . . That was pretty radical, [to] cultivate mistakes as part of the discourse." During this transition, Voulkos began to experiment with bronze casting. His first works in this medium were cast from large slabs of wax that he broke into rough chunks. The painting Blue Remington, on view nearby, relates to his early bronzes both in its composition and its title.
33. SIRGVO_170428_204.JPG: Annon, 1959 Stoneware; thrown and slab constructed, paddled, gouged, perforated, sgraffito
34. SIRGVO_170428_215.JPG: Steel Pot, 1968 Glazed stoneware; assembled, gouged, sgraffito
35. SIRGVO_170428_219.JPG: BLACKWARES, 1968 In June 1968 Voulkos presented a group of nineteen ceramic works at the Quay Gallery in San Francisco. Stark and simplified in shape and palette, these works have become known as the "blackwares" because of their dark metallic surfaces, achieved using iron-based slips. The blackwares exhibition was like the neck of an hourglass: a moment when all of Voulkos's artistic intelligence was concentrated into a single group of related forms. It marks the end of one phase of his career and the inauguration of another. For the remainder of his output, he committed himself to a few signature formats, with particular emphasis on the so-called "stack" or vase form seen here. The vocabulary of controlled attack visible in the blackwares -- his many ways of cutting, poking, and working into the surface of his pots, a process that he jokingly called "putting the art on," remained important to him, as did the idea of making numerous variations across a series.
36. SIRGVO_170428_221.JPG: Anada, 1968 Glazed stoneware and black iron slip; assembled, gouged, sgraffito
37. SIRGVO_170428_226.JPG: Steel Pot, 1968 Glazed stoneware; assembled, gouged, sgraffito
38. SIRGVO_170428_232.JPG: Aratsa, 1968 Glazed stoneware and black iron slip, assembled, gouged, sgraffito
39. SIRGVO_170428_240.JPG: BLACKWARES, 1968 After the restless experimentation of the previous fifteen years, this was an initially surprising return to a restrained pottery format. Taken together, the the blackwares have a strong presence that is more tactile than visual. As Voulkos's friend and fellow artist Jim Melchert put it: "The group is composed of the most haptic pottery I've seen in a long time; it wouldn't surprise me if the pots had been made in the dark." This work reestablished the core value of pottery to Voulkos's practice. Though he continued to work in bronze, paint, and printmaking throughout his career, ceramics were the medium he always found the most instinctive: "Now me and a ball of clay, we'll get together and it's perfect. . . . I almost feel I could take a pile of rough sand and make a pot out of it." The blackwares confirm this facility. Given their limited palette of color and shape, they could have been dull or repetitive. Instead, in their vitality and variety, they are one of the high points of Voulkos's career and of all modern ceramic art.
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2017 photos: Equipment this year: I continued to use my Fuji XS-1 cameras but, depending on the event, I also used a Nikon D7000. Trips this year: Civil War Trust conferences in Pensacola, FL, Chattanooga, TN (via sites in Alabama, Louisiana, Mississippi, and Tennessee) and Fredericksburg, VA, a family reunion in The Dells, Wisconsin (via sites in Ohio, Indiana, and Wisconsin), New York City, and my 12th consecutive San Diego Comic Con trip (including sites in Arizona). For some reason, several of my photos have been published in physical books this year which is pretty cool. Ones that I know about: "Tarzan, Jungle King of Popular Culture" (David Lemmo), "The Great Crusade: A Guide to World War I American Expeditionary Forces Battlefields and Sites" (Stephen T. Powers and Kevin Dennehy), "The American Spirit" (David McCullough), "Civil War Battlefields: Walking the Trails of History" (David T. Gilbert), "The Year I Was Peter the Great: 1956 — Khrushchev, Stalin's Ghost, and a Young American in Russia" (Marvin Kalb), and "The Judge: 26 Machiavellian Lessons" (Ron Collins and David Skover). Number of photos taken this year: just below 560,000.
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