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ギャラリーの視点では、Kenneth Priceの最も有名な作品はJapanese Tree Frog Cup (1968)であり、その原画はニューヨーク市のMoMA(ニューヨーク近代美術館)に展示されています。 Figurine Cup VI (1970)とDEATH SHRINE (1975)が加わり、誰もが一度は目にしたことのある至高のトリオが完成します。 当カタログに含まれるKenneth Priceの作品6点の中から、特に有名な6点を厳選してご紹介します。各作品は、制作年、所蔵美術館、そしてその作品ならではの魅力とともに、一点物のオリジナル作品として掲載されています。
ギャラリーが選ぶKenneth Priceのトップ10作品
Kenneth Priceの原画を所蔵する美術館
このページに掲載されている絵画を最も多く所蔵している 1 の美術館
| 美術館 | 都市 | Kenneth Priceの作品 | このリストの絵画 |
|---|---|---|---|
| ニューヨーク市 | 2 | Japanese Tree Frog Cup, Untitled |
Kenneth Price、10年ごとに1枚の代表作
Kenneth Priceの絵画:ギャラリーの回答
Kenneth Priceの作品の中で、最も有名な絵画は何ですか?答えを見る
Japanese Tree Frog Cup (1968)(MoMA(ニューヨーク近代美術館), ニューヨーク市)。次いでFigurine Cup VI (1970)、DEATH SHRINE (1975)が続きます。
Kenneth PriceがJapanese Tree Frog Cupを完成させた時の年齢は?答えを見る
33歳:Japanese Tree Frog Cupは1968年の作品で、Kenneth Priceの生年は1935年です。
Kenneth Priceの作品数は?答えを見る
当カタログには、1968年から1990年にかけて制作されたKenneth Priceによる6点の作品が収められています。
Kenneth Priceの最も有名なオリジナル作品はどこに展示されていますか?答えを見る
主にMoMA(ニューヨーク近代美術館) (ニューヨーク市)に所蔵されています。上記の美術館一覧にすべて記載されています。
Kenneth Priceが最も有名な作品を描いたのはいつですか?答えを見る
1970s年:このページにある全6作品のうち、3作品がその時期に制作されました。そのうちFigurine Cup VI作品が含まれます。
Kenneth Priceの初期および後期の代表作は何ですか?答えを見る
このページでは、最も古い作品はJapanese Tree Frog Cup (1968)、最新の作品はInterior with Sculpture (1990)です。
Kenneth Priceはどの芸術運動に関連していますか?答えを見る
このページに掲載されているオリジナル作品から判断すると、Pop artです。
MoMA(ニューヨーク近代美術館)が所蔵するKenneth Priceのオリジナル作品は何ですか?答えを見る
Japanese Tree Frog Cup と Untitled:MoMA(ニューヨーク近代美術館), ニューヨーク市には、このページに掲載されている作品のうち2点が所蔵されています。
Kenneth Price:アーティスト
The Alchemist of Clay: The Visionary World of Kenneth Price
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.
A Signature of Layers and Light
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.
Legacy and the Infinite Horizon
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.




