86
Views
0
CrossRef citations to date
0
Altmetric
Original Articles

Sculptural vessels across the great divide: Tony Cragg's Laibe and the metaphors of clay

Pages 215-227 | Published online: 06 Jan 2014

References

  • Bond, D'E. (1973), ‘Michael Rowe’, Crafts, March, pp. 22–25.
  • Boot, M. (ed.) (2002), Grayson Perry, Guerrilla Tactics, Amsterdam: NAi Uitgevers.
  • Brennand-Wood, M. (1982), ‘Reply to Peter Fuller’, Crafts, November/December, pp. 44–45.
  • Britton, A. (1991), ‘The manipulation of skill on the outer limits of function’, in C. Frayling (ed.), Beyond the Dovetail. Craft, Skill and Imagination, London: Crafts Council.
  • Bryson, N. (1990), Looking at the Overlooked. Four Essays on Still Life Painting, London: Reaction Books.
  • Buck, L. (2002), ‘The Personal Pots of Grayson Perry’, in M. Boot (ed.), Grayson Perry. Guerrilla Tactics, Rotterdam: NAi Uitgevers, pp. 92–101.
  • Chippendale, C. (1991), ‘From Art to Archaeology: From Archaeology to Art’, in From Art to Archaeology, London: The South Bank Centre.
  • Cragg, T. (1993), Tony Cragg. In Camera, 's-Hertogenbosch: European Ceramic Work Centre.
  • Cragg, T. ([1985] 1998), ‘Preconditions’, in H. Freidel (ed.), Anthony Cragg. Material_Object_Form, Munich: Cantz Verlag, pp. 58–61.
  • Cragg, T. ([1988] 1998), ‘Vantage Point’, in H. Freidel (ed.), Anthony Cragg. Material_Object_Form, Munich: Cantz Verlag, pp. 62–64.
  • Cragg, T. ([1992] 1998), ‘Talking to Andrew Naime’, in H. Freidel (ed.), Anthony Cragg. Material_Object_Form, Munich: Cantz Verlag, pp. 72–73.
  • Cragg, T. (2003), ‘Tony Cragg talks to Barry Schwabsky’, Artforum, April, pp. 200–1, 253.
  • Daintry, N. (2007), ‘The Essential Vessel’, in Breaking the Mould. New Approaches to Ceramics, London: Black Dog Publishing, pp. 6–15.
  • de Waal, E. (1999), Design Sourcebook. Ceramics, London: New Holland.
  • Daintry, N. (2004), ‘High Unseriousness. Artists and Clay’, in S. Groom (ed.) A Secret History of Clay. From Gauguin to Gormley, London: Tate Publishing, pp. 37–54.
  • Deacon, R. (2003), AC: Richard Deacon. Made in Cologne, Cologne: Walter Konig.
  • Elliott, D. (ed.) (1993), The Raw and Cooked. New Work in Clay in Britain, London: Crafts Council and Oxford: MOMA.
  • Frayling, C. (1987), The Royal College of Art. 150 Years of Art and Design, London: Barrie and Jenkins.
  • Frayling, C. (ed.) (1991), Beyond the Dovetail. Craft, Skill and Imagination, London: Crafts Council.
  • Fuller, P. (1982), ‘Review of Fabric and Form’, Crafts, November/December, pp. 43–44.
  • Garlake, M. (2008), ‘Materials, Methods and Modernism: British Sculpture c. 1950’, Sculpture Journal, 17:2, pp. 51–62.
  • Geitner, A. (2002), Slip. Artists in the Netherlands and Britain working with Ceramic, Haarlem and Norwich: Sainsbury Centre for Visual Arts.
  • Gormley, A. (2004), ‘Anthony Gormley. In conversation with James Putnam’, in S. Groom (ed.), A Secret History of Clay. From Gauguin to Gormley, London: Tate Publishing, pp. 82–85.
  • Groom, S. (2004), ‘Terra Incognita’, in S. Groom (ed.), A Secret History of Clay. From Gauguin to Gormley, London: Tate Publishing, pp. 13–23.
  • Groom, S. (ed.) (2004), A Secret History of Clay: From Gauguin to Gormley, London: Tate Publishing.
  • Harrod, T. (1999), The Crafts in Britain in the 20th Century, New Haven and London: Yale University Press.
  • Harrod, T. (2004), ‘”Hidden Depths”, A Secret History of Clay’, Crafts, May/June, pp. 28–33.
  • Houston, J. (1991), The Abstract Vessel. Ceramics in Studio, London: Bellew Publishing.
  • Jameson, F. (1990), Signatures of the Visible, New York: Routledge.
  • Kolberg, G. (2003), ‘Like You Know. Richard Deacon's Ceramic Sculpture’, in R. Deacon (ed.), A C: Richard Deacon. Made in Cologne, Cologne: Walter König.
  • Koplos, J. (1998), The Unexpected. Artists' Ceramics of the 20th Century, 's-Hertogenbosch: Kruithuis Museum of Contemporary Art.
  • Kwint, M., Breward, C. and Aynsley, J. (eds) (1999), Material Memories, Oxford and New York: Berg.
  • Lucie-Smith, E. (2004), ‘From Gauguin to Gormley’, Ceramic Review, September/October, pp. 32–35.
  • Margetts, M. (1993), ‘Metamorphosis: The Culture of Ceramics’, in D. Elliott (ed.), The Raw and Cooked. New Work in Clay in Britain, London: Crafts Council and Oxford: MOMA, pp. 13–15.
  • McEvilley, T. (2003), ‘Tony Cragg: Landscape Artist’, in T. Cragg, Tony Cragg. Signs of Life, Düsseldorf: Richter Verlag, pp. 166–173.
  • O. R. (2004), ‘A Secret History of Clay — Preview’, Ceramic Review, May/June, p. 17.
  • Paz, O. (1974), In Praise of Hands. Contemporary Crafts of the World, Greenwich Connecticut: New York Graphic Society.
  • Pye, D. (1968), The Nature and Art of Workmanship, Cambridge: Cambridge University Press.
  • Reijnders, A. (2005), The Ceramic Process. A Manual and Source Book of Inspiration of Ceramic Art and Design, London: A&C Black, and Philadelphia: University of Pennsylvania Press.
  • Roberts, J. (2007), The Intangibilities of Form. Skill and Deskilling in Art after the Readymade, London and New York: Verso.
  • Schulz-Hoffmann, C. (2003), ‘I don't particularly like it when someone touches my works. Reflections on Tony Cragg's philosophy of sculpture’, in T. Cragg, Tony Cragg. Signs of Life, Düsseldorf: Richter Verlag, pp. 296–300.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.