Generation - Vol. 42 No. 1

Winter/Spring 2014

Editorial: Spark+Time; Iteration by Sean O'Connell; Building a Legacy by Reena Kashyap; Open Door Policy by Martina Lantin; Source Material by Jonathan Kaplan; Reflections on Legacy by James Watkins; Generations in Faenza by Patricia Hubbard-Ragette; A Generational Undertaking by Sophia King; Catch and Release by Steven Heinemann; Making Bad Work by Jocelyn Howard; Towards an Aesthetics of Digital Clay by Del Harrow and Andy Brayman; Thinking about Contemporary Pots by Sequoia Miller; Field Report by Sunshine Cobb; Erik Gronborg: Pop Goes Materiality by Garth Johnson; The Beginner by Daniel Harris; Remembering Angela Fina by Mary Barringer; and more.

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Table of Contents - Generation

A table of contents with a short summary of each article for Vol. 42, No. 1.

In reflecting on my current curriculum, it is hard to distinguish my own innovations from the inherent differences between higher education today and twenty years ago.

There are plenty of moments when I sense it’s not working, but I may need days, weeks, months, or years to understand why. And so, not infrequently pieces are put aside, awaiting solutions that don’t exist yet...

Making Bad Work

By Jocelyn Howard

I realized that since returning to school, I had rarely allowed myself simply to work. I would plan out every detail and then kill myself trying to make the piece just right. So, I did something new. I approached the clay with the understanding that I might make work that would crack, blow up, melt, or simply look awful. And that was okay.

Towards an Aesthetic of Digital Clay

By Del Harrow & Andy Brayman

Thinking About Contemporary Pots

By Sequoia Miller

What changes have we experienced in the field of studio pottery over the past fifteen years? How do we situate the dynamic and varied practice of making pots in a "post-studio" and "post-disciplinary" moment that seems to call for a different approach?

Field Report

By Sunshine Cobb

Reflections on Legacy

By James C. Watkins

My ceramic work is an artifact of my reality, made up of historical references, cultural melodies, and an aesthetic vocabulary...Most important are the cultural memories of growing up as an African American in the 1950s and 60s, in a farming family in Athens, Alabama.

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Generation - Vol. 42 No. 1

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