Scholarship & Research
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Item Beyond the white cube(Montana State University - Bozeman, College of Arts & Architecture, 2019) Stout Bashioum, Jonathan Braden; Chairperson, Graduate Committee: Josh DeWeeseMy thesis explores the role of pottery in the gallery versus in the outside world. My methods included manipulation of the gallery space, renovation of a bus into a mobile gallery and experimentation with larger wood fired vessels. This resulted in a thesis exhibition that was generally well received and resulted in some helpful insights into having a studio art career in Montana.Item Contemporary maiolica(Montana State University - Bozeman, College of Arts & Architecture, 1992) Salisbury, Mary ElisabethThe functional aspect of a vessel is vitally important to me. I have altered the maiolica glaze I use so that it does not contain lead which is toxic. This affords greater functionality of my ware and still provides for a broad range of color that lies within the earthenware temperature range. I continue to expand my personal vocabulary of form and ornamentation within the boundaries of functional ware. When my pots are wet I push them around to alter the surface profiles. Sometimes I add clay leaves or branch forms or carve into the surface to accentuate specific shapes. These manipulations, illustrated in the series of platters, allow me to integrate the form of the pot with the painted glaze surface. This integration of form and surface is far more interesting to me than throwing production ware covered with stagnant decoration. As I work with clay I think of the clay surface as skin. The surface stretches as my fingers poke and prod the clay to define the growing internal volume. The parts of the vessel, the handles, lips and feet, are exaggerated to animate the forms. Bulging bellies and jaunty spouts characterize the teapot series. I see these pots as individual personalities, yet united in their themes and functions.Item Monuments(Montana State University - Bozeman, College of Arts & Architecture, 1986) Busch, Gail MaryMy work with pottery as subject matter has led me to become involved with placing pots in visual, historical, and architectural contexts. The tall, slender stacks of pottery forms put pots into an architectural context by implication. The work refers to towers, columns, pilasters. By most ceramic standards, these towers are quite large, stacking to heights between six and twelve feet. The significance of scale and the emphasis of repetition make this work a monument to pottery. The repetition of forms within each column encourages manipulation of the perception of those forms. The pot forms may be individually examined, compound forms created by the interact ion of parts of two or more units may be discovered, and the silhouette of the combined forms may be read as a single shape. Some of the compound forms were deliberately pursued. I searched for a vase shape that when repeated yielded a compound form like the body of a violin . Many of the towers are banded with colored slips and glazes. The stripes are an articulate way to describe the real or iIlusionistic volume of the forms without unduly distracting at tent ion from those forms. These horizontal bands also assist in further segmentation of the columns. The stripes are stacked, too. The color of the bands may be used to stress different ways of perceiving the units which compose the columns, Or facilitate blending those units into one flowing shape. For me, color has content. Some surfaces refer to water, or a certain quality of light.Item Functional pottery(Montana State University - Bozeman, College of Arts & Architecture, 1986) Fabens, Frank BevisMy pottery contains harmony which arises out of contradiction. The pieces do not appear to be traditionally functional, yet they are. The surface is both rigid and soft. The apparent heaviness of the forms is different from the actual weight. These contradictions create a pottery which is intriguing and is not understood at first glance. An initial visual impression of my sake’ bottle contradicts common ideas of a functional pot. If something feels good or works well, it may change one’s idea of the pot; consequently, these pots are to be explored with fingers. The eye and mind accept limited standards of function and nonfunction, while touch is accountable only to itself. A cup that can be held in one hand can be explored three-dimensionally through touch as well as through sight. The viewer using both touch and sight will gain a more complete understanding of my pot’s complex planes and surfaces.Item Surface(Montana State University - Bozeman, College of Arts & Architecture, 2001) Maki, SarahMy work is about revealing beauty in the hidden, subtle, and inauspicious details found around us. I want to call attention to beauty found in the quiet, temporal familiarities of the physical world where there exists a transition between material and nonexistence. The main vehicle for this disclosure is casting process in which translucent materials are used to lift impressions from surfaces such as the studio floor or sheets of plastic. This process reveals countless natural occurrences, varying form cracks and wrinkles to dirt and chipped paint. The combination of these subtle incidents is the focal point of my work My attention to surface draws the viewer into the interior of each piece, dissolving the outer membrane and revealing layers of hidden irregularities. Each work is a record of used and misuse - a temporal expression of beauty created by the collective effects of time, human treatment, and my own hand.Item Ruminations(Montana State University - Bozeman, College of Arts & Architecture, 2004) Romero, Miguel Angel; Chairperson, Graduate Committee: Richard HelzerWhat is most important to me in the making of my artwork is the pleasure it gives me to work with materials and forms. When manipulating materials into shapes my intentions center around the corporeal relationship of the viewer to the artwork as well as the space they both will inhabit. For example, my piece 'Yoke' jumps from one wall to the other in a sweeping and gravity-defying gesture, thus coming forward to meet the viewer. This is a gesture which the viewer completes by either coming closer to touch the piece, or by the more aloof route of mere contemplation. The actual sources for the type of imagery I use in my work vary in origin as much as my personal experience does. For example, the idea for the shape of 'Ruminant' came from a stretched out nautilus shell, and its rocking motion suggested to me the repetitiveness of ruminating. On the other hand, the shape of 'Yoke' is a variation I derived from ancient Mayan ceremonial belts, speculated to have been used during Mayan ball-game rituals. I use these images simply because I find their forms intriguing--in other words, I like the way they twist, turn and activate positive and negative space. My familiarity with these objects is just a testimony to either my interest in nature or my background as a Meso-American--that is, these objects are within my range of experience. The way I use materials is also a reflection of intersections of my experiences. For example, the way I use steel as lines to create volumetric forms reflects my interest in drawing. Furthermore, in my younger years I used to work as a farm hand in western Honduras. The look and feel of hay and grass is a subtle but powerful memory, as well as a very direct symbol of the food chain we are a link within.Item Up front(Montana State University - Bozeman, College of Arts & Architecture, 1976) Fillebrown, ThomasItem Functional forms(Montana State University - Bozeman, College of Arts & Architecture, 1986) Katz, Louis HowardDuring the development of this body of work, I have begun to clarify my concept of Beauty, and its relationship to Nature. Nature as I see it is beautiful, and I believe my esteem is due to comprehension of natural order. Nature does not exhibit total control. Nature only sets the parameters within which random variation will occur. Nature does not determine where the wind will carry a leaf, only the means of its transport and the limits on its final location. I feel myself a part of this order. As Nature's pawn, I set some of the parameters. I am as much a part of my work as it is a part of me. I have chosen terracotta clay and salt firing for most of this body of work. This combination of material and process most vividly shows variation in color and surface caused by the random effects of fire. If the distribution of color, from light to dark, in "Alike Jugs" were plotted on a graph, the data would assume a bell shaped curve. This form is common to many graphed natural phenomena. In "Sigma," the distribution of colors reminds one of rocks in a streambed. Other variables in my work such as glaze thickness, size, and shape, similarly graphed, also exhibit this distribution. When I was a child, a common thought of my peers was that the solar system was just an atom on a broader scale, its nucleus and electrons like the sun and the planets. Much of my interest in packing and stacking pots, both in and out of kilns, comes from my elementary knowledge of crystalline structure and its relation to efficient use of space. "Sigma" can be thought of as having a structure composed of multiples of a variation of an octahedron, a form coincidentalIy similar to that of many ceramic oxides. Likewise, the layering in "Out of Kiln" is similar to that in kaolinite, the mineralogical building block of clay. An extension of my concept of Beauty in natural order and the subjectiveness of truth is my feeling that there is beauty in all things. Natural order, and therefore Beauty, manifests itself in everything, and all artifacts of man illustrate the nature of their maker.Item Considerations of form and function(Montana State University - Bozeman, College of Arts & Architecture, 1977) Call, Janet PurdueItem Translations(Montana State University - Bozeman, College of Arts & Architecture, 2007) Rude, Mathew Ben; Chairperson, Graduate Committee: Rick PopeForm, line, and surface are the catalysts for my work. I have been constructing nonrepresentational forms from clay that I see as translations. They are reflective of my conversation with the material and a record of the firing. The pieces in the installation do not reference any specific object. They are my attempt to explore volume, line, scale, and repetition in objects designed to translate the process of wood firing. They are about physicality, passion, and process. Each object becomes an individual variation of the total process. Most forms and objects created in art have some reference to some other preexisting object and can have any variety of meanings attached to them. I know the viewer will create their own meaning and metaphor for this installation. My intention is to leave the specifics up to the viewer.