| | April 4 - August 8 , 2009Mint Museum of ArtCenser with Tlaloc Face - MexicoMexico. West Coast - censer - pottery 23.50 x 14.00 in This exhibition explores the popularity of face jugs in two distinct cultures and time periods. The Bridges Gallery features about thirty examples of North Carolina face jugs from the Museum’s permanent collection including works by such notable potters as Burlon Craig, Charlie Lisk and Joe Reinhardt, while the Levine Gallery highlights the face-jug tradition in the ancient American cultures of Peru, Mexico and Costa Rica. The creative urge to anthropomorphize--give human form to--pottery vessels is found the world over from ancient to modern times. Some artistic traditions favor a full rendering of the human form whereas others portray only the barest hint of body traits. Similarly, the purpose and meanings of these “humanized” containers vary according to the culture and audience for whom the ar •
- Steven Edward Abee - was born in Burke County in 1968 and is one of the newest additions to the well-known Catawba Valley potters. After graduation from high school, he attended Western Piedmont Community College at night, studying Computer Science. Steven became good friends with a co-worker, who happened to be a pottery collector as well. After accompanying his friend to a few of Burlon Craig's kiln openings, Steven became a serious collector.
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- Inspired by the excitement of kiln openings and awed by old-time methods and wares, Steven produced a makeshift wheel and began making his own pottery. He had first been introduced to the wheel by Michael Calhoon of Bolick's Pottery in Blowing Rock, NC.
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- Steven and his wife, Rita, live in the Cajah's Mountain Community of Lenoir, NC. About three or four times a year, the smoke boils from the Abee kiln, turning out a wide variety of wares. These include face jugs,
 • Robert Hunter with David Stuempfle A Study in Rhythm: The Stoneware of David StuempfleFigure 1 David Stuempfle at his kiln during a firing in the spring of 2016. (Unless otherwise noted, all photos bygd Robert Hunter.) Figure 2 “Chinese” jar, David Stuempfle, Seagrove, North Carolina, 2016. Ash-glazed stoneware. H. 34". (Chipstone Foundation; photo, Gavin Ashworth.) Figure 3 Detail of the jar illustrated in fig. 2. Figure 4 Storage jar, Shigaraki Valley region, Japan, Muromachi period (1392–1573). Stoneware with natural ash glaze. H. 18 3/8”. (Metropolitan Museum of Art, The Harry G. C. Packard Collection of Asian Art, Gift of Harry G. C. Packard, and Purchase, Fletcher, Rogers, Harris Brisbane Dick, and Louis V. Bell Funds, namn Pulitzer Bequest, and The Annenberg Fund Inc. Gift, 1975.) Figure 5 Onggi jar, Oh Hyang Jong, David Stuempfle Pottery, Seagrove, North Carolina, 2001. Wood-fired stoneware. H. 60".
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