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Since then, various attempts have been made to revive him, but none have really taken hold. The most recent, which may restore Canova to some popularity, is the sleeper of Venice's summer art season: a show of 152 drawings, clay models, plasters and finished marble carvings, borrowed from as far afield as St. Petersburg, handsomely installed in the period rooms of the Museo Correr on Piazza San Marco. It is 20 years since such a group of Canovas has been assembled in public...
...other decade in the country's history. Last year alone, the U.S. absorbed 1.8 million foreigners. A majority of Americans, some 55%, want a moratorium on new arrivals, according to a Roper survey. "How many can we absorb in a time of recession and high unemployment?" argues Representative E. Clay Shaw, a Republican supporter of Bush's. "We've got to protect our shores, our people...
Right from the start, Voulkos -- the father figure of California pottery at the time and for decades thereafter -- inspired Price to break the rules, and the most binding of these was the integrity of the glaze: all color on a ceramic object had to come either from the clay itself or from the glazes that, through firing, were bonded to it. But this was California, the territory of outlaw artificial color, metal flake, Duco gloss, candy stripes, epoxy bases. Price didn't go for the mass and roughness of Voulkos' work; he wanted a more concise style of object, perverse...
Accordingly, by the early 1960s, Price, now 57, had started using auto enamels and industrial pigments along with the low-fired glazes on his work. These gave an extreme density of color and, unlike in traditional pottery, a relentlessly inorganic and sinister look to his "eggs," enameled clay shells with weird lobes like giblets or tongues merging from fissures in their surface -- an "Invasion of the Body Snatchers aesthetic," as someone remarked at the time. Its payoff would come 20 years later, with pieces like Big Load, 1988, and Stamp of the Past, 1989, ceramic chunks like blotched meteorites, with...
...these references would seem rather a heavy load for small clay objects to carry, but one of the virtues of Price's work is that it never seems pompous and only rarely trivial. Some of the time, it mocks itself. Certain Prices look like exquisitely glazed versions of stuff you would want to scrape off your boot. And what about Wart Cup, 1968, for a title? One can't claim too much for his cups, which is a relief in a culture that tends to claim far too much for its paintings, but the whole show in Minneapolis is infused...