Asian Craft & Design

Cross-listing a Ceramics Studiowith East Asian Studies at

Lawrence University

Appleton, WI

Rationale for Introducing the Course

• Lawrence University was the recipient of a Freeman Foundation Grant in2001, leading to development of the East Asian Studies program and theaddition of Japanese language study over a period of four years. Additionally,twenty Waseda University students from Japan began attending Lawrencethrough an exchange program, further encouraging the growth of the EastAsian Studies area.

• There is continued strong interest to add complementary courses to theInterdisciplinary Area of East Asian Studies.

• An important component of Lawrence Fellows program is the developmentof a new course specific to the Fellows’ area of expertise. My personalbackground includes a total of seven years living and working in Japan throughthe Fulbright, Japanese Ministry of Education, and City of Kanazawainternational exchange and research programs. I hold my MFA inCrafts/Ceramics from Kanazawa College of Art, and spent three years as aresident artist at the Utatsuyama Craft Workshop researching Japanese crafttraditions, and working with local artists and institutions.

• A departmental desire for a class at the 200-level to be available to a widerange of students with interests in Studio Art and East Asian Studies.

Basis of Art 255 Special Topics inCeramics: Asian Craft & Design

Through the Lawrence Fellows program, and in consultation with the Chairsof the Department of Art & Art History and the Program of East AsianStudies, I developed a cross-listed course between Studio Art (Ceramics) &East Asian Studies, titled Asian Craft & Design. The course is a blending ofresearch and studio practice - through slide lectures, readings, anddiscussions, we survey the historical development of traditional throughcontemporary crafts and design in China, Korea and Japan, and focus on thediverse craft customs of Japan in particular. Emphasis is placed on students’independent interests and research to develop ideas and critical thinking, andon building a variety of ceramic skills to achieve a personal body of work.

This poster will cover the evolution of the course, some student workexamples, and planned future developments.

Pit Firing Workshop at Bjorklunden, Door County, WI

One of the first units of the courseis research / readings on Jomon,Yayoi, and Kofun culture, pottery,and firing techniques.

During a Department of Artretreat, we utilized an existing firepit at the Bjorklunden lodge toconduct a primitive pit-firing.Students dug the pit deeper andlaid a bed of sawdust.

Unloading the pit

Kate Ostler, Studio Art Major

A subsequent unit focuses on the cultural renaissance of Japan’s Momoyama periodand the development of the tea ceremony and its utensils.

We continue with the relationship of Bernard Leach 1887-1979 & Shoji Hamada 1894-1978,and the rise of the Japanese mingei movement and its enduring impact on craft aesthetics

Raku Kiln-buildingand Firing

Student Work

Contemporary Designs for Occasional Service

Toward the end of the term, Post-War art movements such as Sodeisha,the Running Clay Society, and the avant-garde Gutai Group are covered.

We finally examine traditional & contemporaryJapanese Design by individual artists and industry

Asian Craft and Design crossover with Intermediate Printmaking:Students designed and executed prototypes, molds, and custom overglaze decals.

Future interests for the course:

• Addition of stacked level Art355/555 for students wishing morein-depth topics and independentwork.

• Crossover activities with newcourse Introduction to JapaneseLanguage and Culture.

• Summer abroad research trip toJapan with students.

Chigiri-e (Radio Gold) by Valerie ZimanyVisiting Assistant Professor & Senior Uihlein FellowLawrence University