Klick-N-Kut Die Cutter

Di-Cutter Instructions

Fired Sample:

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All decals were cut within  a small setting range, however this force and speed greatly matter. If the wrong setting is used the decal will rip. You can see some evidence of that in pictures below.

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Emerald No 4, Force 140, Speed 14, Cut 1
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Grey No 8, Speed 13, Force 127, Cut 1
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Rose No 5, Speed 13, Force 127, Cut 1
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Black No 6, Speed 13, Force 127, Cut 1
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Chocolate No 9, Speed 13, Force 127, Cut 1

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Orange No 2, Speed 14, Force 130, Cut 1

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White, Speed 12, Force 127, Cut 1
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Yellow 4I, Speed 12, Force 127, Cut 1
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Grass Green No 11, Speed 11, Force 125, cut 1

Note: Grass Green is a delicate sheet with a tendency to rip.

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Marine Blue No7,  Speed 12, Force 127, Cut 1

Note: Blues are the only color that change greatly in firing.

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Red, Force 140, Speed 14, Cut 1

Note: Fine cuts such a the lobster limbs often rip.

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Sky Blue No 13, Speed 12, Force 127, Cut 1
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Ocher No 11, Force 140, Speed 14, Cut 1

—–Decal Application UF.jpg

Exhibtion: FEAST: RADICAL HOSPITALITY IN CONTEMPORARY ART

I am really excited about this  Chicago exhibition from 2012 Feast: Radical Hospitality in Contemporary Art. 

“Since the 1930s, numerous artists have used the simple act of sharing food and drink to advance aesthetic goals and to foster critical engagement with the culture of their moment.

These artist-orchestrated meals can offer a radical form of hospitality that punctures everyday experience, using the meal as a means to shift perceptions and spark encounters that aren’t always possible in a fast-moving and segmented society.

Feast surveys this practice for the first time, presenting the work of more than thirty artists and artist groups who have transformed the shared meal into a compelling artistic medium. The exhibition examines the history of the artist-orchestrated meal, assessing its roots in early-twentieth century European avant-garde art, its development over the past decades within Western art, and its current global ubiquity.

Through a presentation within the Smart Museum and new commissions in public spaces, the exhibition will introduce new artists and contextualize their work in relation to other influential artists, from the Italian Futurists and Gordon Matta-Clark to Marina Abramović and Rirkrit Tiravanija. Feast addresses the radical hospitality embodied by these artists and the social, commercial, and political structures that surround the experience of eating together.”

Mella Jaarsma, I Eat You Eat Me, 2002, Photographic documentation of a performance in Yogyakarta, Indonesia. Courtesy of the artist.

Mella Jaarsma, I Eat You Eat Me, 2002, Photographic documentation of a performance in Yogyakarta, Indonesia. Courtesy of the artist.

http://smartmuseum.uchicago.edu/exhibitions/feast/


 

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There is a fabulous blog that with videos and interviews from the exhibition: https://blogs.uchicago.edu/feast/

One feature for today is Enemy Kitchen by Michael Rakowitz.

“The dinner must make a decision and perform their ethics.”

Michael Rakowitz talks about serving dinner on flatware looted from the palace of Saddam Hussein.  Paper replicas of these plates are being used by the Enemy Kitchen food truck, now serving Iraqi cuisine on the streets of Chicago.

 

Studio Visit with Kate Dunn

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WTF is… Relational Aesthetics?

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WTF is… Relational Aesthetics?

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http://www.dinnerbyheston.com/

 

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http://www.capefarewell.com/art.html

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Research: Kathy Butterly at Tibor de Nagy

https://cfileonline.org/exhibition-kathy-butterly-little-sexual-beasts-tibor-de-nagy/

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John Yau, in beginning his review of the deliciously sexy show by Kathy Butterly at Tibor de Nagy (New York February 27 – April 12, 2014), gives a partial list of ceramics exhibitions at major New York galleries over the past 12 months:

“Ken Price: Sculpture at the Metropolitan Museum of Art (June 18–September 22, 2013), which I reviewed for Hyperallergic Weekend; Joanne Greenbaum: Sculpture at Kerry Schuss (May 2–June 2, 2013); Betty Woodman: Windows, Carpets and Other Paintings at Salon 94 Freemans (May 7–June 15); Alice Mackler: Sculpture, Painting, Drawing at Kerry Schuss (June 9–July 26, 2013); Arlene Schechet: Slip at Sikkema Jenkins (October 10–November 16, 2013); Mary Frank, Elemental Expressionism: Sculpture 1969–1985 & Recent Work at DC Moore (November 14–December 21, 2013), for which I wrote the catalogue essay; Lynda Benglis at Cheim and Read (January 16–February 15, 2014).

“Current exhibitions include: Jiha Moon: Foreign Love Too at Ryan Lee (February 1–March 15); Norbert Prangenberg: The Last Works at Garth Greenan (February 27–April 5, 2014), for which I also wrote the catalogue essay; and Kathy Butterly: Enter at Tibor de Nagy (February 27–April 19, 2014).”

To this he could have added Edmund de Waal at Gagosian, Robert Arneson at David Zwirner, Gareth Mason at Jason Jacques, Takuro Kuwata at Salon 4 and a few dozen more. Indeed, the 2013-14 art season has been a bumper one for kiln fruit.

It is instructive that Yau offers this list within Butterly’s review because this artist, a student of Robert Arneson, was a trailblazer crossing over into the fine arts with her porcelain vessels soon after graduation and being hailed as one of the City’s most important emerging artists by New York Times critic Roberta Smith.

In a review for her previous exhibition at Tibor de Nagy, Panty Hose and Morandi, Butterly is compared to George E. Ohr (1857-1018) the radical Biloxi potter:

“Kathy Butterly’s current show, Enter, at Tibor de Nagy confirms what I first thought when I reviewed her previous solo show, Panty Hose and Morandi, at the same gallery for the Brooklyn Rail:

“The formal traits she shares with Ohr include a penchant for crumpled shapes, twisted and pinched openings, and making (as Ohr was understandably proud to point out) ‘no two alike.’ Working within the confines of the fired clay vessel, Butterly has transformed this long established, historical convention into something altogether fresh and new, melding innovation to imagination so precisely that it is impossible to separate them.”

This is relevant and obvious. Less apparent and more subversive is her love of Ken Price’s work and the sexual energy one finds in both these artists.