The Dictionary of American Studio Ceramics, 1946 Onward
The Dictionary of American Studio Ceramics, 1946 Onward
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1938Born Detroit, Michigan
1960BFA Wayne State University, Detroit, Michigan
1962MFA Cranbrook Academy of Art, Bloomfield Hills, Michigan
PRIMARY WORK EXPERIENCE
1964Founded, Plum Tree Pottery, Detroit, Michigan
John Glick is known for functional, thrown, stoneware vessels with painterly surfaces. His early work reflected his Cranbrook teacher, Maija Grotell, and is characterized by simple, undecorated stoneware dinner services and functional vessels.Glick founded Plum Tree Pottery in 1964. There he produced a range of functional vessels with sophisticated painterly decoration. The surface is drawn on and painted with slips and glazes, frequently with flower and vine motifs, so metimes built up to form relief or textured underglaze surfaces, always creating the illusion of depth.
Toward the end of the 1960s, his work began to reflect his interest in 18th and 19th-century Japanese art and contemporary Abstract Expressionism. Beginning in the 1990s, in an effort to get larger surfaces, he made landscape-inspired wall panels.
Glick is considered one of the most important functional potters of his time, not only for his body of work but also as an influential teacher and mentor. Glick introduced, to American studio potters, innovative studio practices that have been widely adopted. He worked with studio assistants, initially having them throw the desired forms or assemble the slabs of hand-built forms to his specifications. Glick concentrated on all aspects of the decoration and finishing.
Initially, Glick used a simple bleed through of iron spots, he later developed a catalog of motifs using combinations of wax resist patterns, incised lines, stamped textures, stain, oxides, and glazes, brushed on, dipped, and dripped to create abstract expressionist surface designs. He created tools to do specific jobs, for example extending the sides of wheel-thrown pots with wooden rib supports. Glick gave new life to forgotten tools such as the extruder, first used in the 18th century to produce straps in various profiles for jug, can, and teapot handles. Glick repurposed the extruder to make sections of his slab built forms. Ultimately, Glick repurposed not only traditional potter’s tools but also their functional forms, to make a unique, unpretentious artistic statement.
American Museum of Ceramic Art, Pomona, California
Canton Museum of Art, Canton, Ohio
Craft and Folk Art Museum, Los Angeles, California
Cranbrook Art Museum, Bloomfield Hills, Michigan
Crocker Art Museum, Sacramento, California
Delaware Art Museum, Wilmington, Delaware
Detroit Institute of Arts, Detroit, Michigan
Dinnerware Museum, Ann Arbor, Michigan
Everson Museum of Art, Syracuse, New York
Flint Institute of Arts, Flint, Michigan
Gardiner Museum of Ceramic Art, Toronto, Canada
Hunter Museum of Art, Chattanooga, Tennessee
Kansas City Art Institute, Kansas City, Missouri
Krannert Museum of Art, Urbana, Illinois
Los Angeles County Museum of Art (LACMA), Los Angeles, California
Mint Museum, Charlotte, North Carolina
Museum of Art, Yixing, P.R. China
Museum of Arts and Design, New York, New York
Museum of Fine Arts, Houston, Texas
Newark Museum, Newark, New Jersey
Racine Art Museum, Racine, Wisconsin
Smithsonian American Art Museum, Renwick Gallery, Washington, D.C.
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_________. “The Evolution of Mentorship.” The Studio Potter 36, Winter 2007/2008.
_________. “Studio Management Revisited: Reflections on Working in My Studio the Last Twenty Years.” The Studio Potter 20, June 1992.
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Rau, David D.J. “John Parker Glick: The Mantel Series.” Ceramics: Art and Perception, no. 32, 1998.
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Artist's Studio: Plum Tree Pottery
|Center For Craft|
|AMOCA American Museum of Ceramic Art|
John Glick typically marks his work with both an inscribed signature and a PLUM TREE POTTERY stamp.
Citation: "The Marks Project." Last modified January 5, 2023. http://www.themarksproject.org:443/marks/glick