Saly Noémi (szerk.): Gorka Lívia keramikusművész (Budapest, 2010)
Kollin András: Bibliográfia
9 Gorka Géza 1894-1971 - „Géza Gorka 1894-1971". Edited by.: Éva Csenkey - Lilla Szabó. Iparművészeti Múzeum, Budapest - F. Szelényi Ház, Veszprém, 1994. 8. 10Géza Gorka, Mázak, - " Mases”, 1962-1964, repr. in Éva Csenkey: Gorka Gézáról - mai szemmel - („On Géza Gorka - from a Modern Perspective"). Magyar Iparművészet, 1994. 5.26-28; Lívia Gorka, Váza, "Vase", 1957, repr. in Éva Csenkey: Modern magyar kerámia az Iparművészeti Múzeumban. Magyar Iparművészet - („Modern Hungarian Ceramics at the Museum of Applied Art. Modem Applied Art"), 1994. 5. 20; Géza Gorka 1894-1971. Exhibition Catalogue, Edited by: Éva Csenkey, Lilla Szabó. Iparművészeti Múzeum, Budapest - F. Szelényi Ház, Veszprém, 1994. 11 The exhibition was announced jointly by the Association of Hungarian Fine and Applied Artists, The Art Foundation of the Hungarian Republic, the Ministry of Cultural Education and the „Working Youth Association”. Young artists, sculptors, graphic artists and applied artists took part, well separated from the older generation. Lívia Gorka won 2nd prize. (Lívia Gorka became a member in 1995 (no.898) and an associate member is July of 1956 (no.342). György Domanovszky: Fiatal iparművészek- („Young Applied Artists"). Szabad Művészet, 1955. 9. 406-410. 12 Typically for the period, critiques and reviews often only appeared in professional periodicals a year later than the exhibition was actually held. This also happened with a description of the work of Lívia Gorka. (Zsuzsa Révész: Lívia Gorka. Művészet, 1960. 4. 28-29.). 13 "There's something exciting about these sculptural bowls which reach back to the most ancient, but certainly not the easiest technigues." Zsuzsa Révész, do. 29. 14 in 1963, masks appear as a returning motif, this time with applied materials foreign to ceramics, such as bent metal wire and pebbles from the Danube (Cat.: 63]. 15 Repr.: Zsuzsa Révész, do. 28. 16 Domanovszky: Gorka Lívia kerámiakiállítása a Csók István Galériában - ("Lívia Gorka's Exhibition at the István Csók Gallery”). Magyar Nemzet, May 8, 1964. 17The objects could be purchased in interior design and arts & crafts shops belonging to the Art Foundation. 18 "For us to fill our lives with content, we need feeling and culture. For our standards to be correct, we need taste. And if we have no aesthetic norm, we need to be taught it. This is one of the great tasks of our times... Homes are often telling of a lack of individuality. People setting up home nowadays can easily find themselves with a home that says nothing about their occupation or view of the world. Homes are so similar these days, that I'm surprised people find their way home at all. It’s because we're too attached to the ready-made. We received everything ready-made when we were children, so we expect the same later. We watch people on TV tell us how we should dress and behave, and we dress and behave in that way, we set up home that way too. The development of a personality requires energy, sure taste and honesty too." Her reply to the reporter's next comment, namely "meaning to know who 1 am and to dare look myself in the face, to dare to accept myself with pride." defined the typical symptom of the socialist society of the times. She said: "In today's conscious world one should already know where to place the old and the new. Those who have achieved status within the bureaucracy are ashamed of having been born in a thatched cottage. Those who can afford it, however, have thatched cottages built for them, at least for use as a holiday home. This is a strange contrast, yet also some form of great identity. A balancing. The balance exists in some places: in nature. When I was a child I loved nature, and I mean exactly that, I loved it, because I regarded it as my example, my everything." Ákos Koczogh, Beszélgetés Gorka Líviával - ("A Conversation with Lívia Gorka"). Műgyűjtő, 1970, yr. II. 1,44 - 46. 19 These light blue, aquamarine, orange etc. works are similar in form and decoration to Géza Gorka's "classic" pieces of the 30's and 40's. 20The form and surface of her atypical cases also reveal her distinctive technique, which does not mak- use of the wheel. She built up her forms by coiling up long, thin, hand-rolled stripes. 21 They lived in Budapest, in one of the old houses on Gül Baba Street. She had her own kiln and studio built in the basement. Her son, born in 1952, also became a well-known ceramic artist under the name Géza Gorka-Focht. 22 Erste internationale Keramikausstellung, Gmunden, luly-August 1959. 45 I I
