Ceramics In America 2019

A diverse range of essays, new discoveries, and book reviews on the latest research of interest to ceramics scholars.

The 2020 volume of Ceramics in America is a celebration of the depth and diversity of ceramics in the American context. Beautifully illustrated articles explore the use of clay from the most basic building bricks to refined earthenwares promoting the political and economic issues of the American Revolution. Of special interest is the origin of the ceramic manufacturing spark in America, looking at the Franklin Institute in Philadelphia cited by historians and connoisseurs as the height of recognition of achievement for ceramic production in the United States. The archaeological discovery of rare "black delft" teapot fragments from Charleston's Drayton Hall is recounted in an exciting collector's narrative. Other articles will include a profile of North Carolina potter David Stuempfle who continues the old-age tradition of producing wood fired stoneware, a study of Thomas Jefferson's Chinese porcelain, and Pueblo pottery collected by a German Museum in the early twentieth century.

The 2021 volume of Ceramics in America features new discoveries about ceramics used in the American context. Topics include American stoneware, Chinese export porcelain, and commemorative historical and political wares. Of special interest are ca. 1790-1810 slip-decorated earthenwares from the manufactory of Enoch Wood and James Caldwell.

This cohesive edited volume showcases data collected from more than seven thousand ceramic artifacts including pottery, figurines, clay pipes, and other objects from sites across South America. Covering a time span from 900 BC to AD 1500, the essays by leading archaeologists working in South America illustrate the diversity of ceramic provenance investigations taking place in seven different countries. An introductory chapter provides a background for interpreting compositional data, and a final chapter offers a review of the individual projects. Students, scholars, and researchers in archaeological study on the interactions between the indigenous peoples of South America and studies of their ceramics will find this volume an invaluable reference.

In this expansive yet concise survey, Christopher Fennell discusses archaeological research from sites across the United States that once manufactured, harvested, or processed commodities. Through studies of craft enterprise and the Industrial Revolution, this book uncovers key insights into American history from the seventeenth through the nineteenth centuries. Exploring evidence from textile mills, glassworks, cutlery manufacturers, and tanneries, Fennell describes the complicated transition from skilled manual work to mechanized production methods, and he offers examples of how artisanal skill remained important in many factory contexts. Fennell also traces the distribution and transportation of goods along canals and railroads. He delves into sites of extraction, such as lumber mills, copper mines, and coal fields, and reviews diverse methods for smelting and shaping iron. The book features an in-depth case study of Edgefield, South Carolina, a town that pioneered the production of alkaline-glazed stoneware pottery. Fennell outlines shifts within the field of industrial archaeology over the past century that have culminated in the recognition that these locations of remarkable energy, tumult, and creativity represent the lives and ingenuity of many people. In addition, he points to ways the field can help inform sustainable strategies for industrial enterprises in the present day.

A reckoning of the central role of enslaved and free Black potters in the long-standing stoneware traditions of Edgefield, South Carolina Recentering the development of industrially scaled Southern pottery traditions around enslaved and free Black potters working in the mid-nineteenth century, this catalogue presents groundbreaking scholarship and new perspectives on stoneware made in Edgefield, South Carolina. Among the remarkable works included are a selection of regional face vessels as well as masterpieces by enslaved potter and poet David Drake, who signed, dated, and incised verses on many of his jars, even though literacy among enslaved people was criminalized at the time. Essays on the production, collection, dispersal, and reception of stoneware from Edgefield offer a critical look at what it means to collect, exhibit, and interpret objects made by enslaved artisans. Several featured contemporary works inspired by or related to Edgefield stoneware attest to the cultural and historical significance of this body of work, and an interview with acclaimed contemporary artist Simone Leigh illuminates its continued relevance.

A broken pot is made whole again, and within its golden repair we see a world of meaning. Kintsugi is the art of embracing imperfection. In Western cultures, the aim of repair has been to make the broken item 'as good as new'. Kintsugi on the other hand, is a Japanese art that leaves an obvious repair – one that may appear fragile, but which actually makes the restored ceramic piece stronger, more beautiful, and more valuable than before. Leaving clear, bold, visible lines with the appearance of solid gold, it never hides the story of the object's damage. Kintsugi traces memory, bringing together the moment of destruction and the gold seams of repair through finely-honed skills and painstaking, time-consuming labour in the creation of a new pot from the old. There is a story to be told with every crack, every chip. This story inevitably leads to kintsugi's greatest strength. an intimate metaphoric narrative of loss and recovery, breakage and restoration, tragedy and the ability to overcome it. A kintsugi repair speaks of individuality and uniqueness, fortitude and resilience, and the beauty to be found in survival. Kintsugi leads us to a respectful and appreciative acceptance of hardship and ageing. Author Bonnie Kemske explores kintsugi's metaphorical power as well as exploring the technical and practical aspects of the art, meeting with artists and ceramists in Japan and the US to discuss their personal connection to this intricate technique. With the inclusion of diary entries, personal stories, and in-depth exploration of its origin and symbolism, this book shows kintsugi's metaphoric strength as well as its striking aesthetic, making it a unique and powerful art form that can touch our lives.

In this issue of Dental Clinics, guest editors Drs. Jack L. Ferracane, Luiz E. Bertassoni, and Carmem S. Pfeifer bring their considerable expertise to the topic of Dental Biomaterials. Dental biomaterials have received recent attention in terms of exhibiting excellent performance, as well as increased migration and proliferation of cells involved in the osseointegration of implants. This issue offers up-to-date, expert coverage of adhesives, cements, composites, ceramics, scaffold materials, and implants, as well as light curing and safety of dental materials. Contains 11 practice-oriented topics including dental adhesives: surface modifications of tooth structure for stable bonding; resin-based composites: materials for direct and indirect applications; new technologies for restorative dentistry; advances in ceramics for dental applications; cements and protocols for bonded dental ceramics; and more. Provides in-depth clinical reviews on dental biomaterials, offering actionable insights for clinical practice. Presents the latest information on this timely, focused topic under the leadership of experienced editors in the field. Authors synthesize and distill the latest research and practice guidelines to create clinically significant, topic-based reviews.