Kenneth Price legkedveltebb festménye a Japanese Tree Frog Cup (1968), amely a MoMA - Museum of Modern Art múzeumában található, New York városában. Figurine Cup VI (1970) és DEATH SHRINE (1975) követik őket a vászlakok közül a legismertebbeket. Katalógusunkban 6 mű található Kenneth Price alkotótól: íme a 6 leghíresebb, mindegyiknél megadva a készítés évszámát, a kiállító múzeumt és azt, ami különlegessé teszi őket.
A rangsorolásunkat a népszerűségi pontszám határozza meg, amely az egyes művek kereséseit, látogatottságát és megrendeléseit ötvözi. Frissítve: október 2026.
Kenneth Price – Untitled Kenneth Price (1935–2012) áll elismerett egyéniségévé az amerikai keramikus művésznek, aki különös megközelítésével emeli magasztalóvá a művészi anyagot – módszertanával meghagyja maga után a kerámiát dekorációs tárgyként hanem mély vizuális felfedezés körében. Született Kaliforniában, Los Angeles közepén született Price művészi útja az Ólomipari Egyetem és Otis Art Institute tanulmányozásával kezdődött, mely biztosította számára a középkortól való keramikus szakmai képzést, ahol Peter Voulkos mentorága alatt tökéletesítette készségeit…
A legtöbb ezen az oldalon szereplő festményet őrző múzeum.
| Múzeumok | Város | Kenneth Price művei | Ebből a listából származó festmények |
|---|---|---|---|
| New York | 2 | Japanese Tree Frog Cup, Névtelen |
Japanese Tree Frog Cup (1968), MoMA - Museum of Modern Art, New York. Utánuk Figurine Cup VI (1970) és DEATH SHRINE (1975) következik.
Kenneth Price, aki 1935 évfolyamán született, 33 éves volt: Japanese Tree Frog Cup 1968 származik.
6 műve Kenneth Price alkotása a katalógusunkban, 1968 és 1990 között.
Leginkább MoMA - Museum of Modern Art (New York) helyszíneken; a fenti lista tartalmazza az egyes múzeumokat és a hozzájuk tartozó vászonműveket.
1970s időszakban, amely ezen az oldalon található 6 mű közül 3 alkotással szerepel, Figurine Cup VI a válogatásban.
A legkorábbi vászon itt: Japanese Tree Frog Cup (1968); a legutóbb pedig: Interior with Sculpture (1990).
Pop art, ahogy azt ezen az oldalon látható vásznemek is mutatják.
A MoMA - Museum of Modern Art, New York 2 műve közül rendelkezik ezen az oldalon, köztük ezekkel: Japanese Tree Frog Cup és Névtelen.
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.