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  Partner: UNT Libraries
 Department: School of Visual Arts
 Degree Discipline: Ceramics
Art or Craft?

Art or Craft?

Date: May 2004
Creator: Snelson, Jason
Description: I chose to exhibit sculpture and classical style vessels together to encourage discussion about whether ceramics should be considered a fine art medium. I was interested in experimenting with different forms and textures in order to see which combination would captivate the viewing audience the longest. I found that massive textural sculptural forms held the attention of the viewer more so than did the classical smooth surfaced vessels.
Contributing Partner: UNT Libraries
Ceramics Without Clay: An Exploration into Potential

Ceramics Without Clay: An Exploration into Potential

Date: May 2001
Creator: Hart, Christopher David
Description: Investigating the behavior, function and appearance of ceramic materials has proven an enduring point of interest throughout my education. In learning about the vast range of the earth-yielded materials and their physical manifestations in states ranging from wet to dry to fired, I have found myself excited and challenged to seek out ways to expand their presentation. My attention has been repeatedly drawn to the class of ceramic materials that frequently get classified as “glaze ingredients.” Understanding the structural and visual qualities of these minerals and compounds was an interest whether I was making tableware, tiles, or sculpture. For the purposes of this paper, I propose to deal expressly with the physical art-making considerations of material and process as they relate to my work in ceramics. By directing my focus as such, I hope to center my work on a concern that became evident to the art world upon the display of Marcel Duchamp’s Fountain: material equals content.
Contributing Partner: UNT Libraries
Crystalline Surface Challenge

Crystalline Surface Challenge

Date: May 2004
Creator: Rostagno, Nicholas
Description: Ever since I became interested in the world of ceramics, crystalline glazes have been the most fascinating and challenging to me. Even though crystalline glazes are the most difficult and elusive to potters, their spectacular results (when done right) keep me coming back. Over the last year I have developed a crystalline glaze that yields consistent and excellent results. During this period, I have worked with these glazes in the traditional manor, being that they are only applied to smooth porcelain vessels. My proposal will be to attempt crystalline glazes on different surface textures.
Contributing Partner: UNT Libraries
Dialogue: An Exhibition of Ceramic Sculpture

Dialogue: An Exhibition of Ceramic Sculpture

Access: Use of this item is restricted to the UNT Community.
Date: May 2000
Creator: Freeland, Charles
Description: I want the viewers of my work to participate with me in a common experience. How I choose to communicate an experience in the work is intended to effect the viewer's level of understanding and participation. Toward this end, an exploration of nontraditional self-portraiture involving the viewer in a relationship with the artist will be used to maintain the visual dialogue imparted through the work. Utilization of recognizable symbols and icons within the work is meant to increase the clarity of my communication enhancing the viewer's involvement in the common experience. Color, as a concern will relate to the increased access and interest of the work to the viewer's experience and understanding.
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Discovering the Parameters of a Successful Piece: While Developing a Body of Work that Represents My Passion for Clay and My Enthusiasm for Life

Discovering the Parameters of a Successful Piece: While Developing a Body of Work that Represents My Passion for Clay and My Enthusiasm for Life

Access: Use of this item is restricted to the UNT Community.
Date: December 2002
Creator: Lichman, Brenda C.
Description: Chapter I describes the purpose of the project, which was to develop a body of work that exhibits all that I am at this point in time. The questions I presented to myself were the following: 1. A successful piece is defined by what parameters? 2. What visual qualities indicate my passion for clay and my enthusiasm for life? Chapter II lists and explains the five parameters of a successful piece, which are composition, firing, mark making, color contrast, and movement. Furthermore there is an explanation on how these parameters visually display my passion for clay and my enthusiasm for life. Chapter III is a summary concluding that by discovering my five parameters of a successful piece I now understand the elements that I am searching for in my work. My work will grow from this understanding as long as I have the same passion for clay and enthusiasm for life.
Contributing Partner: UNT Libraries
The Evolution of Form

The Evolution of Form

Access: Use of this item is restricted to the UNT Community.
Date: May 2000
Creator: Dotter, David D.
Description: A craftsman’s work evolves with time, new forms arise and old forms become more refined. This research attempts to study the evolution of pots over a designated period of time. The key findings include that the approach to glazing was relatively unchanged by the evolution in the work. However,the refinements that occurred in the work allowed the glazes to impart wonderful characteristics to the forms on which they are used.
Contributing Partner: UNT Libraries
Gestural Expressions in Clay

Gestural Expressions in Clay

Access: Use of this item is restricted to the UNT Community.
Date: August 2001
Creator: Neergaard, Nancy Dart
Description: The nature of clay's physical attributes and the application of these characteristics to an expression of gestural movement in utilitarian ceramics.
Contributing Partner: UNT Libraries
Hard and Soft

Hard and Soft

Date: December 2000
Creator: Gray, J. Christensen
Description: The purpose of this investigation is to explore the possibilities of manipulating clay in three distinct ways to effectively show that clay objects were at one time moist and pliable. The techniques used are faceting while wet, manipulating a variety of additions, applying different glazing techniques, and three separate firing methods. In addressing the problem, the following concerns were considered: (a) Which of the pieces made best expresses my aesthetic concerns? (b) Which firing method, oxidation, reduction or atmospheric, best illustrates these concerns? (c) Which glazing technique was most successful? In an attempt to explore and solve these problems, a series of twenty pieces were produced. A visual record of slides showing individual pieces were made to demonstrate the differences and similarities between firing methods.
Contributing Partner: UNT Libraries
Imitating Nature

Imitating Nature

Date: December 2002
Creator: Holden, Linda K.
Description: Through my art I seek to communicate the continuing cycle of change that unites all life forms. I had to find methods of presentation and surface that would enhance my sculptural statements that I had begun to address. Utilizing salt, wood and low temperature sagger firing, resulted in softer, more natural appearing surfaces. These surfaces complimented and completed the organic forms with which I was working. The problems encountered in presentation were rectified by alternately contrasting the surfaces of the presentation with the surfaces of the pieces, while utilizing forms that echoed the natural forms of the pieces. The opposite approach also worked well, using natural presentation materials to create a sense of unity, and geometric bases for contrast. These methods resulted in an increased sense of energy, unity and completion in the work presented.
Contributing Partner: UNT Libraries
Masking Meaning

Masking Meaning

Date: May 2003
Creator: Allee, Jake R.
Description: Chapter I describes the purpose of the project, which was to develop a body of work that exhibits my current thought process. The questions presented to myself consisted of the following: 1. How effective was the expression of my ideas socially and politically after the change to the work? 2. Was the minimal approach a tool that contributes or detracts from this effectiveness? 3. Did an increase in scale successfully act as an element of confrontation? Chapter II describes the inspiration behind the making of my work it also discusses problems encountered with an understanding of the viewer concerning imagery. Chapter III summarizes the methodology behind the execution of the new body of work. It also discusses how simplification of imagery works as a solution to my problems.
Contributing Partner: UNT Libraries
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