Nejoblíbenějším dílem autora Kenneth Price je Japanese Tree Frog Cup (1968), které je vystaveno v instituci MoMA - Museum of Modern Art, New York. Následují Figurine Cup VI (1970) a DEATH SHRINE (1975) z platen, která čtenáři znají nejlépe. Náš katalog obsahuje 6 děl umělce Kenneth Price: zde je 6 nejznámějších, z nichž každé uvádí svůj rok vzniku, muzeum a důvod, proč je nezapomenutelné.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno říjen 2026.
Kenneth Price: Významné Slovo Abstraktního Černé Kenneth Price (1935–2012) byl americký keramisté a grafický umělec, který se především věnoval tvorbě keramických soch. Studoval na Chouinard Art Institute a Otis Art Institute (nyní Otis College of Art and Design) v Los Angeles, než získal titul BFA na Kalifornské univerzitě Jižního státu v roce 1956. Pokračoval ve svých studiích na Chouinard Art Institute v roce 1957 a získal magisterský titul MFA na…
Muzeum, které má v této kolekci nejvíce obrazů.
| Muzea | Město | Díla autora Kenneth Price | Obrazy z tohoto seznamu |
|---|---|---|---|
| New York | 2 | Japanese Tree Frog Cup, Untitled |
Japanese Tree Frog Cup (1968), MoMA - Museum of Modern Art, New York. Následují Figurine Cup VI (1970) a DEATH SHRINE (1975).
Kenneth Price, narozen 1935, měl 33 let: dílo Japanese Tree Frog Cup pochází z roku 1968.
V našem katalogu je 6 děl umělce Kenneth Price, datovaných od 1968 do 1990.
Většinou v MoMA - Museum of Modern Art (New York); výše uvedený seznam obsahuje názvy jednotlivých muzeí a jejich pláten.
V období 1970s, které tvoří 3 z 6 děl na této stránce, mezi nimi i Figurine Cup VI.
Nejstarší plátno se zde datuje do Japanese Tree Frog Cup (1968); nejnovější je z Interior with Sculpture (1990).
Pop art, jak dokazují plátna na této stránce.
Muzeum MoMA - Museum of Modern Art, New York se vlastní 2 děl z této stránky, mezi nimiž jsou i Japanese Tree Frog Cup a Untitled.
In the vibrant, sun-drenched landscape of mid-century Los Angeles, a new language of form was being whispered through the medium of clay. Kenneth Price, a figure of profound and restless creativity, did not merely sculpt; he reimagined the very essence of ceramic art. Born in West Hollywood in 1935, Price emerged from a lineage of iconoclastic artists who sought to shatter the boundaries between craft and fine art. His journey began within the prestigious halls of the Chouinard Art Institute and Otis College of Art and Design, where he absorbed the experimental spirit of the era. Under the transformative mentorship of Peter Voulkos, Price learned to view clay not as a vessel for utility, but as a raw, expressive medium capable of profound abstraction and emotional resonance.
Price’s early years were steeped in the avant-garde currents of Abstract Expressionism and Minimalism. This period of formation instilled in him a lifelong commitment to challenging sculptural conventions. While his contemporaries often sought the stability of geometric perfection or the traditional elegance of glazed pottery, Price pursued a path of beautiful instability. His work moved through various stages of evolution, from the luminously glazed ovoid forms of the 1960s—which earned him immediate critical acclaim and even featured on the cover of Artforum—to more suggestive, molten-like slumps that seemed to defy the rigidity of their material.
What truly distinguishes a Price masterpiece is the breathtaking, almost illusory surface treatment that became his artistic hallmark. Moving away from traditional glazes in the 1980s, he developed a revolutionary technique that bridged the gap between sculpture and painting. He would apply multiple, thick layers of bright acrylic paint onto fired, matte-finished clay forms. Through a meticulous process of sanding and abrasion, he would peel back these colorful skins to reveal the hidden strata beneath. This method created a variegated, multi-colored pattern that possessed an ethereal, translucent quality, as if the sculptures were breathing through their own skin.
This technique allowed for a captivating interplay of light and shadow, where the depth of the color seemed to shift with the viewer's perspective. The resulting works were neither purely sculptural nor purely painterly; they existed in a liminal space of materiality and illusion. Whether working on diminutive, outlandish shapes that subverted the functionality of traditional ceramics or larger-scale, bulbous forms lacquered with iridescent hues, Price maintained an obsession with the tactile experience of color. His surfaces were not merely decorated; they were built, excavated, and revealed.
The significance of Kenneth Price extends far beyond the confines of the ceramic studio. He was a pivotal figure in the Los Angeles art scene, a movement that redefined American sculpture on the global stage. His ability to expand the orthodox definitions of both American and European sculpture earned him a cult following among legendary critics like Lucy Lippard, who famously noted his incomparable uniqueness. Even as he moved from the coastal energy of Venice, California, to the rugged, volcanic landscapes of Taos, New Mexico, his work continued to evolve, growing in scale and intensity.
Beyond his three-dimensional triumphs, Price was an extraordinary draftsman, using drawing to visualize impossible architectures—such as cups with leaping frog handles—and to map out wild, cyclonic skies. His career, spanning over five decades, was a relentless pursuit of the new. Today, his work resides in the most prestigious collections worldwide, including the Metropolitan Museum of Art and the Los Angeles County Museum of Art (LACMA). Kenneth Price remains a pioneer of layered abstraction, an artist who taught us that within the humble earth of clay lies an infinite capacity for light, color, and wonder.