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Gerry Williams

Biography to Display: 

1926 Born Asanol, Bengal, India

2014 Died Goffstown, New Hampshire

EDUCATION

Cornell College (Honorary Doctorate), Mt. Vernon, Iowa

 

In the 1950s, Gerry Williams began working in the Black Hills area of Concord, New Hampshire with the League of New Hampshire Craftsmen. He cites David Campbell, the director, as well as other potters working at the League, such as Vivika Heino, John Butler, and Richard Moll, as influential in his study. During this time, he focused on wheel-thrown pottery techniques, but soon became known for his architectural forms in porcelain and stoneware. By the 1960s, Williams was well known and respected, and was well-versed in innovative wet-fire techniques and photo-resist processes for adding images to ceramic forms. He began working with large stoneware bowls and coil-building urns. He also mastered the Copper Red Glaze during this time. As his work began to shift towards stoneware and porcelain, he created a body of well-known political sculptures, known as “Political Constructions”, which included graffiti, relief lettering, photographic imagery, effigy figures, polyester resin and acrylic paints.

In 1972, Williams and his wife co-founded The Studio Potter magazine, an international journal which became one of the most influential ceramic publications in the United States. Williams stayed on as an editor for 30 years.

Public Collections

Public Collections to Display: 

American Museum of Ceramic Art, AMOCA, Pomona, California

Currier Gallery of Art, Manchester, New Hampshire

Fleming Museum, University of Vermont, Burlington, Vermont

Museum of Contemporary Craft, Portland, Oregon

Museum of Fine Arts, Boston, Boston, Massachusetts

The Smithsonian Institution, Washington, D.C.

Springfield Museums, George Walter Vincent Smith Art Museum, Springfield, Massachusetts

Bibliography

Bibliography to Display: 

Halper, Vicki, and Diane Douglas. Choosing Craft: The Artist's Viewpoint. Chapel Hill: University of North Carolina Press, 2009.

Koplos, Janet, and Bruce Metcalf. Makers: A History of American Studio Craft. Chapel Hill: University of North Carolina Press, 2010.

Mills, Maureen. Surface Design for Ceramics. New York: Lark Books, 2008.

Minogue, Coll, and Robert Sanderson. Wood-fired Ceramics: Contemporary Practices. London: A & C Black, 2000.

 

 

Typical Marks
1950-1960
ca 1955
ca 1960
1960-1965
1965
ca 1970
Vase
Date: 1950-1960
Materials: Earthenware
Method: Thrown
Surface Technique: Glaze, Incised, Sgraffito
The Forrest L. Merrill Collection
The Forrest L. Merrill Collection
Vase with Figures
Date: ca 1955
Materials: Stoneware
Method: Thrown
Surface Technique: Glaze, Sgraffito
E John Bullard Collection
E John Bullard Collection
Flagon with Stopper
Date: ca 1960
Form: Pitcher
Materials: Stoneware
Method: Thrown
Surface Technique: Glaze
E. John Bullard Collection
E. John Bullard Collection
Vessel
Date: 1960-1965
Materials: Earthenware
Method: Thrown
Surface Technique: Glaze, Incised
The Forrest L. Merrill Collection
The Forrest L. Merrill Collection
Spherical Vase
Date: ca 1965-1970
Materials: Stoneware
Method: Thrown
Surface Technique: Glaze
E John Bullard Collection
E John Bullard Collection
Bowl with Inset Panels
Date: ca 1970
Materials: Stoneware
Method: Thrown
Surface Technique: Glaze
E John Bullard Collection
E John Bullard Collection
Effigy: Man with Raised Arms
Date: 1975
Form: Vase
Materials: Stoneware
Method: Thrown
Surface Technique: Glaze, Incised
E John Bullard Collection
E John Bullard Collection
Yunomi
Materials: Stoneware
Method: Thrown
Surface Technique: Glaze, Incised
The Forrest L. Merrill Collection
The Forrest L. Merrill Collection

Citation: Reff, Grace. "The Marks Project." Last modified May 6, 2019. http://www.themarksproject.org:443/marks/williams