American Pottery Art Online information about American Ceramic Tile Art from sources other than Resource Library page 2

American Pottery Art

Online information about American Ceramic Tile Art from sources other than Resource Library

page 2

Eva Zeisel: The Shape of Life was a 2005-07 exhibit at the Erie Art Museum, followed up by a book on the exhibit. Accessed 11/16

Face Jugs: Art and Ritual in 19th-Century South Carolina was a 2013 exhibit at the Georgia Museum of Art, which says: "This exhibition... celebrates the formative African American vessels and their aesthetic power, while discussing their cultural meanings within a community of Americans that lived under challenging circumstances. Faces that have long stood silent here regain a voice. "Accessed 3/14

Fire and Earth: Native American Pottery from New Mexican Pueblos was a 2013 exhibit at the Bellarmine Museum of Art which says in its press release: "A wide range of styles and forms of traditional and contemporary pottery are on view and include works by noted 20th-century artisans such as Maria and Julian Martinez, Helen Naha, and Robert Tenoria. Historical works from the late 19th and early 20th century are also featured." Readers may download the Exhibition Catalogue with entries by Jill J. Deupi and Maria Dembrowsky Nigro. Accessed 1/17

"Ford Ceramic Arts Columbus, Ohio," by James L. Murphy, The Journal of the American Art Pottery Association 14, no. 2 (1998): 12-14, from the Knowledge Bank, Ohio State University. Includes link to .pdf file. Accessed August, 2015.

Frankoma Pottery Exhibition, an exhibit held April 20 - October 7, 2012 at the Fred Jones Jr Museum of Art. Includes news release. From Fred Jones Jr Museum of Art. Accessed 11/20/14

Grounded in Clay: The Spirit of Pueblo Pottery is a 2024 exhibit at the Museum of Fine Arts, Houston which says: "Although Pueblo pottery has long been exhibited within the context of Eurocentric time lines and Western concepts of art and history, Grounded in Clay gives voice to the Pueblo Pottery Collective, a group of more than 60 individual members of 21 tribal communities who selected and wrote about artistically and culturally distinctive pots from two significant Pueblo pottery collections: the Indian Arts Research Center of the School for Advanced Research in Santa Fe, New Mexico, and the Vilcek Foundation in New York City." Accessed 10/24

Historic U.S. Tile Installation Database for both existing and demolished U.S. tile and terra cotta installations from the 1870s through the 1950, organized alphabetically by state. Accessed August, 2015.

Juliellen Byrne: Cradle, Casket, Boat, an exhibit held May 21 - July 24, 2011 at the Canton Museum of Art. Includes artist statement. Accessed June, 2014

Kukuli Velarde: Plunder Me, Baby is a 2017 exhibit at the American Museum of Ceramic Art which says: "The Plunder Me, Baby ceramic sculptures evoke a childhood memory that has haunted Velarde, of hearing her 16-year-old nanny declare "I don't speak Quechua" (the language of the Inca) in an attempt to hide her indigenous roots." Also see artist's website Accessed 11/17

Living with Clay: The Julie and David Armstrong Collection is a 2019 exhibit at the Claremont Museum of Art which says: "Staged to simulate the manner in which Julie and David Armstrong display their collection in their home, alongside paintings and furnishings, the exhibition reveals the integration of art in their daily lives while also saluting the collectors' taste, ideas, and the uniqueness of their vision." Accessed 4/19

Malibu Potteries from Adamson House. Accessed August, 2015.

J. Mark Sublette of Medicine Man Gallery, Inc. has secured permission to reprint online numerous articles concerning Western and Native American art from publishers of several paper-printed magazines. Included are articles on Native American pottery. Accessed August, 2015.

Melissa McGill: Slipside is a 2017 exhibit at the John Michael Kohler Arts Center which says: "The creation of Slipside pushed the technical limits of scale for slip-cast ceramics. When McGill's Arts/Industry residency in the Kohler Co. factory began, there was some doubt that these large figures could be made as originally designed, but she was persistent in her efforts to create the forms in one piece. With technical advice from factory artisans, she made molds and repeatedly slip-cast them until she had completed a series of clay figures standing nearly five feet tall." Accessed 1/18

In October 2012 The Metropolitan Museum of Art launched MetPublications, an online resource that offers in-depth access to the Museum's print and online publications, covering art, art history, archaeology, conservation, and collecting. Titles relating to American representational art available for free viewing via.pdf download or online reading as of 2013 include: American Porcelain, 1770-1920; Frelinghuysen, Alice Cooney (1989). Accessed August, 2015.

Native American Pueblo Pottery

Cochiti Pottery in the Early Twentieth Century:is a Gemini 3 Pro Deep Research Report which says: "The cultural and artistic evolution of the Cochiti Pueblo during the early twentieth century represents one of the most sophisticated responses to colonialism and the commodification of indigenous identity in the American Southwest. At the heart of this transformation was the interaction between Cochiti potters and the expansive tourism infrastructure developed by the Fred Harvey Company, specifically through the "Indian Detours" program. This period, stretching roughly from the arrival of the railroad in 1880 to the onset of World War II, saw the birth of a unique figurative tradition known as monos, characterized by a blend of traditional materials and radical social commentary. The development of these figures was not merely a commercial endeavor but a complex act of cultural preservation and quiet subversion, as potters utilized the very tourists who purchased their wares as subjects for satirical critique." Accessed 3/26

Hopi Pottery in the Early Twentieth Century is a 2026 Gemini 3 Deep Research Report which says: "The cultural landscape of the American Southwest underwent a seismic shift at the dawn of the twentieth century, catalyzed by the expansion of the Atchison, Topeka & Santa Fe Railway and the commercial ingenuity of the Fred Harvey Company. Within this period of rapid modernization and burgeoning tourism, the Hopi potters of First Mesa, most notably led by the visionary artist Nampeyo of Hano, developed a distinctive aesthetic and technical style that fundamentally redefined indigenous ceramic traditions. This evolution was not a spontaneous artistic movement but rather a calculated and sophisticated response to the socioeconomic pressures of the era and the specific demands of a new class of travelers arriving on the "Indian Detours." By bridging the gap between the archaeological past and the commercial present, these artisans synthesized ancestral materials and motifs into a characteristic style that appealed to a global market while simultaneously preserving their cultural heritage during a time of profound transition." Accessed 3/26

San Ildefanso Pottery in the Early Twentieth Century is a 2026 article by Gemini 3 which says: "The high desert sun of New Mexico casts long, amber shadows over the adobe walls of San Ildefonso Pueblo, a place where the earth itself has always been the primary medium of expression. In the early years of the twentieth century, this small Tewa-speaking community sat at a quiet crossroads of history. The ancient traditions of pottery making, which had sustained the Pueblo people for a millennium, were facing a slow decline. For generations, the women of San Ildefonso crafted sturdy, utilitarian vessels -- broad-shouldered ollas for water storage and wide bowls for grain -- but the arrival of inexpensive, mass-produced metal pails and enamelware from the burgeoning American industrial machine began to render these clay tools obsolete. It was during this fragile period of transition that a remarkable convergence of archaeology, tourism, and individual artistic genius would transform San Ildefonso pottery from a fading domestic craft into a world-renowned fine art." Accessed 3/26

Santa Clara Pueblo Ceramics in the Fred Harvey Era is a 2026 Gemini 3 article which says: "The early twentieth century served as a transformative epoch for the Santa Clara Pueblo, a Tewa-speaking community situated along the Rio Grande in northern New Mexico. During this period, the production of pottery underwent a profound metamorphosis, transitioning from a localized, utilitarian practice rooted in millennia of communal tradition to a sophisticated art form curated for a burgeoning global tourist market. This shift was catalyzed by the strategic interventions of the Atchison, Topeka and Santa Fe Railway and its hospitality partner, the Fred Harvey Company. Through the establishment of the Indian Department in 1901 and the subsequent launch of the "Indian Detours" in 1926, these corporate entities did not merely facilitate travel; they actively participated in the aesthetic and economic reshaping of Pueblo life." Accessed 3/26

Sky City Crucible: Acoma Pottery in the Era of Fred Harvey Indian Detours is a 2025 article by Gemini 3 which says: "The high desert plateau of western New Mexico serves as a landscape where the ancient and the modern have engaged in a century-long dialogue, mediated through the tactile medium of clay. At the heart of this cultural intersection lies the Acoma Pueblo, or Sky City, a settlement perched atop a 370-foot sandstone bluff that has remained continuously inhabited for over a millennium. By the dawn of the twentieth century, this ancestral stronghold became the focal point of a transformative economic and artistic movement, driven by the expanding reach of the Atchison, Topeka and Santa Fe Railway and the sophisticated marketing machinery of the Fred Harvey Company. The development of Acoma pottery during this period was not merely a continuation of domestic craft but a deliberate evolution of style, materials, and motifs designed to meet the expectations of a new class of travelers. These "detourists," arriving in the rugged New Mexico interior via luxury "Harveycars," sought a tangible connection to a culture they were told was vanishing, prompting Acoma potters to refine their techniques and visual language into a form that was both deeply traditional and highly marketable." Accessed 3/26

Zuni Pottery In the Fred Harvey Era is a 2026 Gemini article which says: "The early twentieth century in the American Southwest was defined by a profound collision between ancient sedentary cultures and the rapid expansion of industrial capitalism. At the heart of this transformation was the Zuni Pueblo, or A:shiwi, a community that had occupied the high desert plateaus of western New Mexico for millennia. For the A:shiwi people, the ceramic arts were never merely decorative; they were functional vessels for water and prayer, manifestations of a matrilineal tradition that linked the physical land to the spiritual realm of the ancestors. However, as the Santa Fe Railway and the Fred Harvey Company began to market the "Indian Country" to a burgeoning class of eastern travelers, the Zuni ceramic tradition underwent a strategic and stylistic evolution. This period, roughly spanning from 1895 to 1940, saw the emergence of a characteristic Zuni style that balanced the demands of a new commercial market -- fueled by the luxury "Indian Detours" -- with the internal necessity of cultural preservation." Accessed March, 2026

Newcomb Pottery and Arts & Crafts and Shearwater Pottery, Ocean Springs, Mississippi from Jean Bragg Gallery of Southern Art. Accessed August, 2015

Newcomb Pottery Through the Years is a 2019 exhibit at the Newcomb Art Museum which says: "Spanning more than 50 years, the display, Newcomb Pottery Through the Years, centers on the historical timeline of the Pottery and the shifting style through the decades and features over 70 rarely-displayed treasures from the permanent collection including Newcomb Pottery, textiles, jewelry, metal objects, bookbinding, and more." Accessed 3/20.

North Carolina Pottery, an exhibit held 27 January 2012 - 4 March 2012 at the Ackland Art Museum, The University of North Carolina at Chapel Hill. Accessed 4/14

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