The international magazine of contemporary and historical ceramic art, Ceramic Review, was launched in 1970 by the Craft Potters Association. Since then it has explored and reported on the heritage and changes in trends of ceramics both in the UK and abroad.
Published bi-monthly, the magazine was relaunched two years ago with a crisp new feel to reflect the growing interest in the ceramics world. Combining authoritative features with lavishly illustrated top-quality photography, CR regularly includes in-depth profiles of the most exciting names at work today; features interviews with new names who are making their mark in the field of ceramics; hosts a practical how-to Masterclass series with top ceramists, both in print and online; includes insights from leading auction houses on the latest trends emerging in the world of collecting, alongside the latest news, reviews, exhibitions and events.
An invaluable resource for potters, ceramists, ceramic artists, collectors, enthusiasts and students, Ceramic Review has been inspiring the UK and international ceramics communities for almost 50 years.
One of the most popular features in Ceramic Review is our Masterclass series – in our Nov/Dec issue we have the pleasure of featuring the renowned potter Walter Keeler, who takes us step-by-step through the process he uses to make one of his signature jugs: an insight into a true master at work.
Walter also shares his experience of education, which Vin Ray picks up on in his preview of Bristol in Brixton – 40 Years On, which features the work of the university’s former students and tutors, including Walter, who taught at Bristol Poly in the 1970s. Vin describes the decline in ceramics education during the 2000s and 2010s, which led to the closure of ceramic courses not only in Bristol, but also in Harrow, Bath and Glasgow, among others.
The debate between the importance of academic achievement versus creative talent is continued by Clayground Collective, who discuss whether working with clay and developing hand skills should be an educational and social right for young people today. At a time when, as Clayground explain, our ‘deep-seated cultural assumption, namely that academic learning is somehow separate from and superior to knowledge gained through the hand’, it is important that the clay community joins the campaign and plays its part in ensuring that skills and knowledge of the material world are passed on to the next generation. If you would like to share your experience of ceramics education or wish to comment on the debate, do please get in touch.