Ceramics and Pottery

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    A $190 Soap Dispenser Has Become the Hit Product at Gem Home

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    The ceramic vessel made by a former fashion designer has become the hit product at a new shop in Downtown Manhattan.The soap dispenser could have looked like anything.Most important to Flynn McGarry was to have a stylish vessel in keeping with the aesthetic of Gem Home, his new store and cafe in Manhattan. Its customers can nibble on lentils and slabs of parsnip cake at communal farm tables lit by tapered candles or browse shelves bearing a tight selection of comestibles and products like antique cutlery, cloth napkins and glass tumblers imported from Britain.“My biggest thing was not just selling glass bottles of soap,” said Mr. McGarry, 25, a chef since his teenage years whom Vogue has called the Justin Bieber of food.He went with a ceramic dispenser produced by hand in small batches and made in saturated colors and abstract shapes. Each is filled with a quince-scented soap from Ffern, a luxury fragrance company in Britain, and comes with a refill. A 10-ounce dispenser costs $190, and a 12-ounce version costs $210.Since Gem Home opened in NoLIta three weeks ago, it has sold 24 dispensers, an average of one a day. (The product is currently sold out; new stock is expected this weekend.)“I didn’t know I wasn’t going to be able to keep them on the shelves for more than 25 minutes,” Mr. McGarry said. “They’re not cheap,” he added. But the dispensers have seemed to resonate with people willing to pay a premium for objects aimed at “elevating the most mundane elements of life,” as he put it.Created by Shane Gabier, a fashion designer turned ceramic artist, the dispensers are an offshoot of a version he made for the bathroom at Gem Home, which is attached to a wall to prevent people from stealing it. Mr. Gabier is also making a wall soap dispenser for the bathroom at Gem Wine, Mr. McGarry’s wine bar on the Lower East Side.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Ancient Cities Unearthed in Mountains of Central Asia

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      The discovery suggests that trade routes along the Silk Road were far more complex than previously understood.Michael Frachetti was on an archaeological dig high in the mountains of southeastern Uzbekistan in 2015 when a forestry official approached him. “You know, I’ve seen some of those kinds of ceramics in my backyard,” the official said, referring to the artifacts emerging from the dirt. “Come see.”The casual tip would lead Dr. Frachetti, an archaeologist at Washington University in St. Louis, to Tugunbulak, an enormous fortified city dating back to a medieval empire. He and his team would spend nearly a decade trying to map out the site, as well as the one he’d originally come to Uzbekistan to explore, known as Tashbulak.The results of their research, published on Wednesday in the scientific journal Nature, describe the two sites as “the largest and most comprehensive urban plans of any medieval city” in Central Asia situated at high altitude (defined here as about 6,500 feet above sea level).“I can’t tell you how exciting this study is,” said Peter Frankopan, a Silk Road expert at the University of Oxford who was not involved in the study.The findings complicate the prevailing image of the Silk Road, which facilitated the exchange of goods and ideas between people from China to Venice between the second century B.C. and the 15th century A.D. Many experts had previously thought that the famous trade route passed only through the lowlands.But in fact, “they were dragging the caravans to the mountains,” said Farhod Maksudov, an archaeologist at the Uzbekistan Academy of Sciences. Because the surrounding Malguzar Mountains were rich in iron ore, Tashbulak and Tugunbulak may have been centers of weapons manufacturing. Dr. Maksudov said that excavations at the two mountain sites had yielded pottery, coins and jewelry, which may have been traded for weapons and other objects.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Local’s Guide to Chiang Rai, Thailand

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      Four insiders on where to stay, eat “micro-seasonal” dishes and shop for handmade pottery and textiles.T’s monthly travel series, Flocking To, highlights places you might already have on your wish list, sharing tips from frequent visitors and locals alike. Sign up here to find us in your inbox once a month, along with our weekly roundup of cultural recommendations, monthly beauty guides and the latest stories from our print issues. Have a question? You can always reach us at tmagazine@nytimes.com.Travelers to the northern provinces of Thailand have long been drawn by two things — elephant camps and campy temples. The most famous examples of each are within or near the 13th-century city of Chiang Rai, where the Wat Rong Khun, or White Temple, stands as an artist’s parable of the world’s ills, as depicted in the form of pop culture villains and other icons of kitsch. (If crossing a sea of grasping arms at the entrance doesn’t terrify you, beware the Freddy Krueger-themed hanging planters.) Chiang Rai is also where the Emerald Buddha, a national treasure now housed in Bangkok’s Grand Palace, was reportedly discovered in 1434. According to legend, a bolt of lightning cracked the stupa in which it had been hidden years prior.Chiang Rai — the city shares its name with the surrounding province — has gained a reputation as something of a tourist trap, thanks to the tour buses that ferry visitors from the White Temple to the equally gaudy Blue Temple and then to the very bleak Black House (which the artist Thawan Duchanee, who died in 2014, decorated with elephant skulls and antlers and a table runner made of snakeskin). But the city, having played second fiddle to the luxe-boho paradise of Chiang Mai ever since King Mang Rai moved the capital of the Lanna Kingdom — which ruled over most of what is now northern Thailand — to the “new city” in 1296, has more recently emerged as an unhurried haven for serious artists and other creative professionals seeking to escape the heat and sprawl of Bangkok.The third edition of Thailand’s roaming Biennale, which brought dozens of international and Thai artists to Chiang Rai this past winter and spring, shed light on an often-overlooked aspect of the city — its long history as a cultural crossroads. Owing both to its proximity to Laos and Myanmar and, to some degree, the Golden Triangle’s uncomfortable past as a center of the global drug trade, Chiang Rai has been the site of intermingling cultures for centuries.“The constant migration of people of different races and religions make this an interesting place both geographically and culturally,” says the Chiang Rai-born artist and gallerist Angkrit Ajchariyasophon. In 2023, Chiang Rai was also recognized by UNESCO’s Creative Cities Network for its sustainable architecture design and landscapes. “My house is near the city’s oldest Christian church, close to an Islamic mosque and a Buddhist temple off the same road,” says Ajchariyasophon. “This is where I grew up and learned about cultural diversity, which I find wonderful.”Today, multigenerational family-run restaurants featuring traditional Thai, Chinese and Myanmarese specialties likewise share a slow-movement sensibility with hipster cafes that serve coffee from beans grown on local farms, and stylish home stays that incorporate teak wood scavenged from nearby forests. Here, Ajchariyasophon and other Chiang Rai enthusiasts offer their recommendations on where to stay, eat, shop and sightsee in and around the city.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      At Los Angeles Galleries, Savoring the Waning Days of Summer

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      During an often quiet season in the art world, several outstanding solo shows and one group show offer a feast for the eye and the mind.Rick Lowe’s “Cavafy Remains,” 2024, acrylic on canvas, in the group exhibition “Social Abstraction” at Gagosian Beverly Hills.via Rick Lowe and Gagosian; Photo by Thomas DubrockThe traditional summer lull in the art gallery calendar typically spurs a rash of phoned-in group shows, a chance to drag unsold works out of storage and repackage them under limp catchall themes. Not so much this month in Los Angeles, where several eye-catching solo exhibitions feature artists who are overdue for a moment in the sun.On the evidence of these shows, there’s no single dominant trend in art right now, but rather a general sense of permission to take seriously a broad spectrum of artists and positions, especially those of older generations. In this late-summer heat, it’s a welcome respite.‘Magdalena Suarez Frimkess: The Finest Disregard’Through Jan. 25. Los Angeles County Museum of Art, 5905 Wilshire Boulevard, Los Angeles; 323-857-6000; lacma.org.Top to bottom: “Minnie Mouse Wearing Venice Canals Dress,” 2004; “Minnie Mouse Wearing Pineapple and Palm Tree Pattern,” 2005; “Minnie Mouse in a White Dress With Red Polka Dots,” 2007; “Minnie Mouse in a Green Dress With Pink Polka Dots,” 2007; and “Minnie Mouse in a Pink Dress,” undated.via Magdalena Suarez Frimkess and Los Angeles County Museum of ArtAt 95, the Venezuelan-born Magdalena Suarez Frimkess has waited a long time for her first museum retrospective. Trained in Chile as a sculptor, she came to the United States on a fellowship in 1962 and met Michael Frimkess, a classical ceramist. They were soon married, and settled in Los Angeles. After he was diagnosed with multiple sclerosis, she began applying her Pop-inflected imagery onto his elegant vessels, painting them with colored glaze.This exhibition of ceramics, furniture, paintings and drawings at LACMA, curated by José Luis Blondet, takes its title from an astute review in Art in America by Paul Harris: “The work of Magdalena Suarez Frimkess — the most daring sculptor working in Chile — is distinguished by the finest disregard for whatever is supposed to be so.” We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More