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Brothers in Clay: The Story of Georgia Folk Pottery
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Manufacturer: University of Georgia Press
List Price: $34.95
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The story of Georgia's rich folk pottery tradition, covering the historical forces that shaped it and the families and individual artisans who keep it alive. Drawing on interviews with practising potters, the author includes detailed explanations of turning, glazing and firing processes.
PRODUCT DESCRIPTIONS:
Binding: Paperback
Dewey Decimal Number: 738
EAN: 9780820316963
ISBN: 0820316962
Label: University of Georgia Press
Manufacturer: University of Georgia Press
Number Of Items: 1
Number Of Pages: 352
Publication Date: 2001-03
Publisher: University of Georgia Press
Studio: University of Georgia Press
SIMILAR ITEMS:
• Raised in Clay: The Southern Pottery Tradition
• Turners and Burners: The Folk Potters of North Carolina (Fred W Morrison Series in Southern Studies)
• Great & Noble Jar: Traditional Stoneware of South Carolina
• Alabama Folk Pottery
• The Remarkable Potters of Seagrove: The Folk Pottery of a Legendary North Carolina Community (A Lark Ceramics Book)
CUSTOMER REVIEWS:
bk review -
Excellent book covering the great folk potters of Geogia -All I hoped it would be.
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Pompous -
The first thing that you will need to know about the author, if indeed personal perspectives are important, is that, unless the situation in which he finds himself is self-laudatory, he becomes....boorish. His work is no doubt ground breaking, but he leaves out so much of the ceramic history of Georgia because it would take too much effort to really uncover the truth. For example, one will see much that he has to offer for those potteries that existed above the fault line in Georgia. But, he fails to recognize equally important potteries in South Georgia. Try to find any relevant information about Lanier County, or the area around Lumpkin. Or, more damning, try to find any relevant information in this book about Washington County, probably the earliest pottery center in Georgia. Yes, Burrison does give WACO a passing notice; however, he skims details with the proviso that "more studies need to be done". Instead, Burrison rides the coattails of his protege', Lanier Meaders, who is indeed a worthy beast of burden, and very popular right now with the collector set. Still, the holes in his research are ragged, and we are expected to accept this with the admonition that more will come, later. I believe that as a researcher, Burrison relies on the obvious; that he used his assistants to provide details, and that, in general, as someone who promotes himself to be the primary source of expertise concerning Georgia pottery, he is "not authentic". And so, if you would like what seems to be a well-researched examination of Georgia pottery, but in fact is just a biased snapshot of it, then buy this book. In the meantime, the hope is that someone will take up the fallen mantel of Burrison's book and reveal a complete picture of a fascinating subject.
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