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George Ohr: Mississippi's Mad Potter
| Article
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17813 |
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Section : |
THE ARTS
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| Issue
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3 / 1990 |
1,767 Words |
| Author
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Karen S. Chambers
Karen S. Chambers is a craft writer, critic, and curator
currently based in New York. |
"Unequaled. Unrivaled. Undisputed. Greatest Art Potter on
Earth."
These claims, more appropriate to the carnival midway than as a description of a serious artist, are George Edgar Ohr's own, and he believed them. A potter of mundane functional items as well as extraordinary one-of-a-kind works, Ohr frequently traveled to fairs, both the country variety and the world expositions popular at the end of the last century, to sell his wares. Where he set up his wheel beneath such a banner may not have been a carnival midway, but it was still a long way from the galleries and museums where his work now appears, seen by those who agree with Ohr.
A writer for the New Orleans Times-Picayune, Lyle Saxon, describes a 1922 visit to Ohr's storeroom, four years after his death:
“You are holding a…tea-pot, a beautifully conceived and executed design, simple and lovely in line…. [Y]ou are almost shocked at the ungainliness of the piece next to it, an unwieldy jar, top-heavy, fantastically, comically ugly with three handles, all placed awry, as if with malicious intent. A veritable monster of a pot. Perverse, but humorous, too. A slap in the face of conventional art - futuristic.”
A Cache of Pots
Saxon's use of the word futuristic has proven to be prescient. Underappreciated during his own time (he was active from the early 1880s to 1910), Ohr's work has only recently been "rediscovered." The seven thousand pieces that Ohr left
... (1997 of 10528 Characters)
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