Produced on the occasion of Peter Voulkos: Super Clay (organized by Hiroshi Matsubara and Junji Suzuki of Point View, Tokyo, at Art Center Hall, Tokyo, 23 May–1 June, 1983, and travelling to Kyoto Art University and the Tokoname Ceramic Research Center.

Peter Voulkos was known for his abstract expressionist ceramic sculptures, which crossed the traditional divide between ceramic crafts and fine art. Between 1954 and 1959, he headed the ceramics department at the Otis College of Art and Design. Otis clay, as the legendary work produced by Voulkos, John Mason, Michael Frimkess, Henry Takemoto and several others came to be called, represented the first artistic movement in Los Angeles to generate sustained national enthusiasm and influenced a younger generation of West Coast ceramicists.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of Peter Voulkos’ exhibition at Sezon Museum of Art, Tokyo 2 January–February 20, 1995 and the National Museum of Modern Art, Kyoto, 28 February–April 2, 1995.

Peter Voulkos was known for his abstract expressionist ceramic sculptures, which crossed the traditional divide between ceramic crafts and fine art. Between 1954 and 1959, he headed the ceramics department at the Otis College of Art and Design. Otis clay, as the legendary work produced by Voulkos, John Mason, Michael Frimkess, Henry Takemoto and several others came to be called, represented the first artistic movement in Los Angeles to generate sustained national enthusiasm and influenced a younger generation of West Coast ceramicists.

*Please note this publication is secondhand and has some traces of previous ownership.

Peter Shire is an LA-based artist whose subversive humour and playfulness extend throughout his work and made him a natural fit for the controversial and iconic Milan-based Memphis design group, of which he was a founding member.

The ceramic teapots made by Shire straddle the line distinguishing functional objects and pure sculpture. His brightly coloured, imaginatively shaped, and often witty designs are created under the influence of pop culture, the transformations of the landscape of late-twentieth-century Los Angeles, and by the work of important twentieth-century artists and designers.

With texts by Peter Shire, Hunter Drohojowska-Philp and Norman M. Klein.

Produced on the occasion of Ron Nagle: Five O’Clock Shadow at Matthew Marks Gallery, New York, September 11 – October 24, 2015. Nagle is known for his intimately scaled sculptures made of ceramic elements that are slip-cast, fired, and embellished with epoxy and other synthetic materials that allow him to expand his forms beyond the limits of clay. Some are glazed to a hot-rod finish, others textured like stucco and then airbrushed.

Produced on the occasion of Ron Nagle: Ice Breaker at Matthew Marks Gallery, 1062 North Orange Grove, January 21–April 8, 2017.

Nagle is known for his intimately scaled sculptures made of ceramic elements that are slip-cast, fired, and embellished with epoxy and other synthetic materials that allow him to expand his forms beyond the limits of clay. Some are glazed to a hot-rod finish, others textured like stucco and then airbrushed.

Produced on the occasion of the exhibition, Ron Nagle: Lincolnshire Squire at Modern Art, London, 10 September–18 December 2020.

Mixing traditional materials such as ceramic and porcelain with epoxy resin and catalysed polyurethane, Nagle’s works attain an almost impossible physical quality, their indefinability echoed in the deft wit of their titles, such as Vapor Caper or Curly Centurion. This catalogue illustrates 22 new works by the artist and features an essay by Dan Fox, former Frieze magazine Editor-at-Large.