January 9, 2011 by staff
Craig Glaze, Charles “Terry” Zug, curator of a new exhibit of North Carolina Pottery Museum Ackland Art, points to a case containing several pots by Burton B. Craig (1914-2002), a potter from the Catawba Valley region of the state. Craig was “the last of the potters utilities, and continued to use an ancient form of alkaline glaze on her pots.
Using the old method, Craig maintained a tradition. This method “disappeared” without it, Zug said. Collectors in the 20th century realized that pottery Craig was part of a major regional tradition, and soon her pottery has become more valuable. Young artists came to learn the craft from him.
“He saved the Catawba Valley,” Zug said.
Craig works are just one example of how North Carolina has fed and continues to maintain a tradition of pottery. A big pot of Ben Owen III (born 1968) is displayed in the room several examples of early pottery Jugtown his grandfather, Benjamin Wade Owen, product.
Works of Craig Owen’s family and the families Seagle and Fox and other potters are featured starting today when the Ackland opens “Tradition in Clay. Two hundred pots Carolina Classic North ”
Zug, professor emeritus at UNC and former chairman of the English curriculum of folklore, is the author of 1986 “Turners and Burners: The Folk Potters of North Carolina “In 1981, another exhibition organized Zug Ackland,” traditional potters of North Carolina, “which contained over 200 pieces of pottery. “Tradition in Clay” has more than 100 works, about 80 percent of them from the collection Ackland, and other loans.
The exhibition is divided between two rooms of the gallery. Contains mainly pottery of the 19th century. The other room has pottery of the 20th century and contemporary examples. One objective of Zug curators of the exhibition was to show the continuity of the tradition of pottery, and it inspired a folklorist Henry Glassie’s quote (which appears in the commentary to the exhibition), this tradition is the creation of the future out of the past. ”
Pottery tradition of the 19th century was utilitarian. The pottery was “a tool to help these people a means of self-sufficient life,” Zug said. Most of the pottery was for food storage, and exposure jars, jugs, jars land of milk and water bottles. At the same time, artisans have been creating this Zug called North Carolina No. 1 form of Aboriginal art. Potters were trained either in their communities or families at an early age, and by the time these young apprentices have reached their teens, they already know driving, Zug said.
Even in this period, there are great examples of art. Zug points to a four-gallon jug by Daniel Seagle (1805-1867) of Lincoln County as a beautiful piece of pottery.
“You want to choose it and feel it,” he said.
Seagle “set a standard of excellence that is unprecedented,” said Zug. “Potters say that modern man was a master.”
It also underlines the meticulous work done by pitchers Himer Jacob Fox and Nicholas Fox. The handles are carefully placed on their jugs. The Foxes also made a design with a fork.
In the 20th century, less expensive storage containers became more abundant, greatly reducing the demand for pottery storage. North Carolina was one of the few states with a tradition of pottery making the transition into pieces that were meant to be considered and appreciated instead of being used, Zug said. Although there is probably no single reason for the transition in North Carolina had a family that has established a craft of pottery that they do not want to lose an abundance of clay, and influx of fans, as Jacques and Juliana Busbee, the founders of Jugtown Pottery near Seagrove.
The Busbee and other potters introduced using new glazes of copper, chromium and other metal oxides, which allowed them to experiment more with color. Artisans during that time “made a very critical transition to a more artistic type of pottery,” Zug said.
Early potters Jugtown looked east for inspiration. Points Zug several examples of Oriental motifs of pottery with glazes of North Carolina, “and it worked very well,” he said. It also includes parts of Seagrove potters who “went wild” with enamels new colors.
This part of the exhibit also has several other recent examples of works by potters who have fun with the bowl side, as Joe Reinhardt 1999 “Mr. Sumo Cookie Jar,” and Walter Fleming “Totem Pole Face Jar.” Also on Poster is one of 100 large jars that Daniel Johnston County Randolph made with alkaline and manganese glaze, Big Jar Project No. 64. “Johnston has 100 large jars, lined up by the road near his house and sold them.
Since the early 1980s, the Ackland made a conscious effort to create a collection to represent the tradition of pottery in North Carolina. Zug gave much credit to the former director Charles Millard Ackland, who “alone doubled the collection of the Ackland.”
North Carolina is known worldwide for its pottery, and North Carolina also “are enraged about the collection of pottery,” Zug said.
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