The ceramic art of Susan McGilvrey has many aspects and layers, all of which merit discussion and analysis. I am going to concentrate on placing her form development within the context of three important 20 th century ceramic movements. Each of these has had an international impact on the field starting in the 1950s.
In the late 1950s and early 1960s three discrete ideologies evolved that held sway in American ceramics. I have named them the Bauhaus Influence, the Hamada-Leach Tradition, and the Voulkos Revolution. I will briefly describe each of them here and reveal how, in a rather unusual amalgam, they converged and melded in the ceramics of Susan McGilvrey.
The Bauhaus Influence The Bauhaus School, which had a mere decade and a half of existence in the Weimar Republic of Germany following World War One, has exerted an enormous influence in the world of design ever since, and is associated with the brief prescriptive: Form Follows Function. The Nazis closed the Bauhaus School in the early nineteen thirties and the luminous professors who framed the philosophy either fled Germany (architect and founder Walter Gropius, for example) or fell into a proscribed obscurity. Before this closure, the school had several homes and struggled to keep the doors open. However, the art and design work that flowed from its professors and students, who hailed 20 th
century industrial and technical efficiency as a model, remains as a monument to its importance and avant garde status.
Bauhaus did not support the entrenched hierarchy of media, which has been the norm in the art world since the Renaissance, and which validates the separation of art (painting, sculpture) from craft (fiber arts, ceramics, metal work). Instead, Bauhaus celebrated human creativity within the context of its philosophy across all media. A recent exhibition of Bauhaus design at the Museum of Modern Art underscored this open-minded approach as viewers examined objects that encompassed high art paintings along with woven wall hangings, rugs, fabric design, furniture, pottery vases and more mundane forms through an extensive range of fine and decorative art.
Some of the ceramic artists associated with the Bauhaus School are Ruth Duckworth, Hans Coper, Gertrude and Otto Natzler, Marguerite Wildenhain, and Lucy Rie. These artists immigrated to the United Kingdom or the United States. Most of them became teachers, giving workshops and presenting at conferences and consortia in addition to maintaining their fertile and influential studio lives.
Susan McGilvreys first instructor, Dean Schwarz at Luther College in Decorah Iowa, was a student of Marguerite Wildenhains. His instruction aimed at securing in his students a high craft and highly technical approach to throwing pots on the wheel and demanded students achieve strong forms with even walls, tight fitting lids, and highly compressed skins by throwing using ribs on both the inside and outside of the pot when articulating the final forming of the object.
This highly technical education provided McGilvrey with a strong structural base, and explains how she manages to throw the large amphorae and tall forms that have become a hallmark of her work.
The Hamada-Leach Tradition
The Hamada-Leach Tradition resulted from the fertile association of the English potter and draftsman, Bernard Leach, the Japanese Potter Shoji Hamada, and the Japanese writer and philosopher Shoetsu Yanagi. These individuals were exceedingly interested in each others visual cultures, social traditions, and art histories and ultimately believed there could be an East/West union of ideas that would form a new avenue for art and craft production. Whereas form follows function served as the mantra for Bauhaus, Leach, Hamada and Yanagi coined the Japanese word mingei, meaning art of the people or folk craft and used this term to identify the objects of everyday utility that they extolled and promoted.
Leach and Hamada met in Japan where Leach had gone following art school in England in the early 20 th c. His idea was to earn a living teaching drafting and wood engraving, but instead he became a potter and writer, and with his Japanese friends founded a movement. In the 1930s Leach returned to England to set up a pottery in St. Ives, Cornwall, England. The Leach Pottery ran an apprenticeship program and those working in the program produced a standard ware comprised of a line of straight forward utilitarian pots designed for cooking and use at the table. The influences for this pottery came from traditional British folk pottery forms. Like William Morris, whose Arts & Crafts Movement of the mid-Victorian era was a great influence on the young Leach, the goal was to enhance every day life through the use of handmade objects of beauty and inherent integrity.
Leach apprentices, of whom there were never more than six at a time, went off and became makers and teachers in their own regions or countries. One of these, Warren MacKenzie, moved to Minnesota and was ultimately a longtime professor at the University of Minnesota where he is now a retired Regents Professor and working potter in his mid-eighties.
Following her undergraduate career at Luther College, Susan Mcgilvrey moved to the Twin Cities and ultimately spent several years at the University of Minnesota as a post-baccalaureate student continuing her pottery making studies. At Minnesota she came under the sway of the Mingei movement through Warrens mentorship. Additionally there were the six or so Mingei-sota potters living in the area whose showrooms were open to the public and who were often available to the university students for discussion, observation and studio visits. These artists reflected Leachs and MacKenzies philosophies not only in terms of the nature of their pottery, but also in terms of their lives: country potters, living simply, committed to Arts & Crafts and Mingei values.
At the University of Minnesota Susan was introduced to a working methodology that stood in strong contrast to the Wildenhain/ Bauhausian approach that reigned at Luther College. The formality of structure, the even walls, tight skins, and constrained forms were replaced with an emphasis on the use of wetter clay, a slower wheel, and primarily a goal to have a finished pot that was expressive of the nature of the maker, and that more strongly implied the nature of the material. The contrast between these two schools resulted in the label of tight or loose being assigned to any particular pottery form.
Two things were going on in the ceramics area at Minnesota. MacKenzie focused on making of pottery underpinned by Mingei ideas. The other professor, Curtis Hoard was a product of the most influential movement in contemporary ceramics at the time and the one I call the Voulkos Revolution.
The Voulkos Revolution
Peter Voulkos studied ceramics in Bozeman, Montana at Montana State University and learned to make exquisite thrown forms in the Bauhaus mode. He and fellow classmate Rudy Autio became the initial directors of the newly founded ceramic center, The Archie Bray Foundation in Helena and there they hosted Shoji Hamada and Bernard Leach as they toured the United States, and thus the two young artists came into contact with a more relaxed and expressive way of working clay. Voulkos ultimately threw off the constraints of working out of any traditional set of ideas or values. Like all contemporary artists Voulkos was not interested in aligning himself with a past tradition, even one as recent as the Bauhaus School, but instead was interested in making the past obsolete. Eventually he left Montana and The Archie Bray Foundation and started a ceramics program at the Otis Institute in Los Angeles. What happened there is legendary in the history of American ceramics as his first handful of students went on to have incredible careers and along with Voulkos became the generation of professors to shape the future direction of contemporary ceramics in the United States.
Don Reitz, a professor at the University of Wisconsin was an adherent to Voulkos ideas and instilled them in his students. One of these was Curtis Hoard who then passed them on to his students at the University of Minnesota School of Art.
McGilvrey has always taken advantage of her surroundings, eager to learn new technologies and consistently open to considering new ideas. At Minnesota, everything she had learned thus far came into question and her experiments ranged widely as she tried on new approaches, both technical and aesthetical. Directly upon leaving Minnesota she entered graduate school at Penn State University, where her teachers were Ron Gallas, Jim Stephenson and David DonTigny. Gallas was a student of Curtis Hoards at Minnesota. The conceptual thinking of Peter Voulkos constituted the Alpha and the Omega at Penn State.
A pattern has revealed itself as I write about these three important movements. Walter Gropius, the founder of the Bauhaus School, Leach, the founder of the Mingei movement, and Voulkos who created a revolution within the field of ceramics all professed, two at academic institutions (Voulkos spent the majority of his career teaching at the University of California-Berkeley) and one at his own pottery through an apprenticeship program. I have attempted to illustrate a lineage within each of them. (Anyone interested in learning more will find many books, catalogs, and articles on both the individuals and the movements.)
Susan McGilvrey is a raconteur and her stories are interlaced with humor and sarcasm. I asked her what drove her to settle on creating pottery forms that are typically out-of round, asymmetrical, lean this way and that. Seeing her throw and just knowing what kind of skill is needed to pull cylindrical forms that are twenty inches tall I know these results are intentional. Her response was that in graduate school it was difficult enough to produce work that even alluded to utility and receive any attention from her professors, and that if she had thrown straight forward pots she would have been asked to leave her program. Forms that are askew, then, became part of her voice in clay, and upon analysis dramatize the askew nature of many of the surface drawings, all of which have stories or describe experiences that turn and twist upon one another and are interlaid with word play and intricacy of meaning.
One of the most compelling aspects of vessel-oriented ceramics is the nature and mystery involved in confronting and considering the notion of inside and outside, the concept of containment. The traditional vocabulary used to describe a ceramic vessel includes words like lip, shoulder, belly, foot. The symbolism is obvious. The conjoining of a complex and metaphorical vessel form with the graphic and painterly, sometimes abstract, sometimes narrative, usually autobiographical surfaces, McGilvrey produces result in artwork that is invigorating, energetic, and mysterious. At the core of her work exists a vibrant intelligence, a rare talent, underpinned by an ambition for and commitment to the life of an artist.