Wayne Higby (American, b. 1943) Landscape Series Bowl, USA, circa 1980

Glazed and raku-fired earthenware
Impressed artist's seal to foot

(H: 11 1/2, W: 21 3/4, D: 14 1/2 in.)

Qty: (1)

Provenance

Acquired directly from the artist
Property from the Robert L. Pfannebecker Collection

Literature

Garth Clark, American Ceramics: 1876 to the Present, Abbeville Press, New York, 1987, p. 221 (related form illustrated)
Helen Drutt, Wayne Higby, New York, 1991, pp. 2, 7 (related forms illustrated)
Peter Held, ed., Infinite Place: The Ceramic Art of Wayne Higby, Stuttgart, 2013, pp. 45-47 (related forms illustrated)
Janet Koplos and Bruce Metcalf, Makers: A History of American Studio Craft, Chapel Hill, North Carolina, 2010, p. 332 (related form illustrated)
Adrienne Spinozzi, Shapes from Out of Nowhere: Ceramics from the Robert A. Ellison Jr. Collection, August Editions, New York, p. 226 (related form illustrated)

Artist Biography

Wayne Higby was born in Colorado Springs, Colorado in 1943. He received a B.F.A. in 1966 from the University of Colorado in Boulder and an M.F.A. in 1968 from the University of Michigan. He received fellowships from the National Endowment for the Arts in 1973, 1977, and 1988, and from the New York Foundation for the Arts in 1985 and 1989. In 1992 Higby was named an honorary professor by the Hubei Academy of Arts, Wuhan, People’s Republic of China. He has served on the faculities of the University of Nebraska and the Rhode Island School of Design and currently teaches at the New York State College of Ceramics at Alfred University. Since the early 1970’s, the artist has, in clay, interpreted the imagery of landscape found in the western United States, created storage jars, multi-part sculptures, and vessels depicting vistas of undulating mountains, valleys, and streams. His work has been widely lauded and exhibited and is held in important private and public collections worldwide, including the Renwick Gallery of the Smithsonian American Art Museum, the Metropolitan Museum of Art, the National Art Museum of China, the Museum of Modern Art, Tokyo, the Hermitage, the Everson Museum, the Philadelphia Museum of Art, Museum of Fine Arts, Boston, among many others.

Very good; no chips, cracks, or repairs; light overall crazing, most visible in the lighter-colored regions.