This works proposes that a women's tradition in ceramics is one in which pottery making is a gendered activity intimately connected with female identity. The knowledge is passed down from one generation to the next. It guides the reader through these traditions continent by continent. Different areas are illustrated with beautiful, detailed maps and fascinating colour photographs from around the world.

Primarily a women's art, American Indian pottery reflects a heritage of powerful social, religious, and aesthetic values. Even now, modern American Indian women use the clay, paint, and fire of pottery making to express themselves, creating designs that range from dutifully traditional to strikingly original. This book - written in conjunction with one of the most important exhibitions of American Indian pottery ever mounted - provides an in-depth look at a unique North American art form.

Ceramics had a far-reaching impact in the second half of the twentieth century, as its artists worked through the same ideas regarding abstraction and form as those for other creative mediums. Live Form shines new light on the relation of ceramics to the artistic avant-garde by looking at the central role of women in the field: potters who popularized ceramics as they worked with or taught male counterparts like John Cage, Peter Voulkos, and Ken Price. Sorkin focuses on three Americans who promoted ceramics as an advanced artistic medium: Marguerite Wildenhain, a Bauhaus-trained potter and writer; Mary Caroline (M. C.) Richards, who renounced formalism at Black Mountain College to pursue new performative methods; and Susan Peterson, best known for her live throwing demonstrations on public television. Together, these women pioneered a hands-on teaching style and led educational and therapeutic activities for war veterans, students, the elderly, and many others. Far from being an isolated field, ceramics offered a sense of community and social engagement, which, Sorkin argues, crucially set the stage for later participatory forms of art and feminist collectivism.

Engaging History and Romance from Bestselling Author Judith Miller When Rose McKay convinces her brother, Ewan, to invest in a pottery business, she's determined to assist him in making the venture a success. Having just graduated from the Philadelphia School of Design for Women, she believes she can design pieces that will sell well. In her efforts to help the pottery flourish, Rose reconnects with Joshua Harkness, who oversees his own family's pottery works in a nearby town. Rylan Campbell has never liked change, but the new owners of the pottery seem to be the decent sort. He just wishes Rose wouldn't insist on cleaning and moving everything. But when McKay Pottery starts losing business to the Harkness company, Rylan realizes Joshua might be taking advantage of Rose. Then Franklin Hotels announces a design contest. Winning the Franklin contract would be exactly the boost McKay Pottery needs, so Rose and Rylan work closely together to create something magnificent. With Joshua's company as their main competition, can Rylan convince Rose her trust in Joshua may be misplaced?

This pioneering collection of essays deals with the topic of how Irish literature responds to the presence of non-Irish immigrants in Celtic-Tiger and post-Celtic-Tiger Ireland. The book assembles an international group of 18 leading and prestigious academics in the field of Irish studies from both sides of the Atlantic, including Declan Kiberd, Anne Fogarty and Maureen T. Reddy, amongst others. Key areas of discussion are: what does it mean to be 'multicultural' and what are the implications of this condition for contemporary Irish writers? How has literature in Ireland responded to inward migration? Have Irish writers reflected in their work (either explicitly or implicitly) the existence of migrant communities in Ireland? If so, are elements of Irish traditional culture and community maintained or transformed? What is the social and political efficacy of these intercultural artistic visions? Writers discussed include Hugo Hamilton, Roddy Doyle, Colum McCann, Éilís Ní Dhuibhne, Dermot Bolger, Chris Binchy, Michael O'Loughlin, Emer Martin, and Kate O'Riordan.

Griot Potters of the Folona reconstructs the past of a particular group of West African women potters using evidence found in their artistry and techniques. The potters of the Folona region of southeastern Mali serve a diverse clientele and firing thousands of pots weekly during the height of the dry season. Although they identify themselves as Mande, the unique styles and types of objects the Folona women make, and more importantly, the way they form and fire them, are fundamentally different from Mande potters to the north and west. Through a brilliant comparative analysis of pottery production methods across the region, especially how the pots are formed and the way the techniques are taught by mothers to daughters, Barbara Frank concludes that the mothers of the potters of the Folona very likely came from the south and east, marrying Mande griots (West African leatherworkers who are better known as storytellers or musicians), as they made their way south in search of clientele as early as the 14th or 15th century CE. While the women may have nominally given up their mothers' identities through marriage, over the generations the potters preserved their maternal heritage through their technological style, passing this knowledge on to their daughters, and thus transforming the very nature of what it means to be a Mande griot. This is a story of resilience and the continuity of cultural heritage in the hands of women.

Acclaimed potter Mary Fox, known for creating stunning gravity-defying decorative vessels as well as contemporary functional ware, tells the story of her life as an artist.