are paintings.” Reviewing his 2009 exhibition, Robert Pincus-Witten wrote, “His radical relocation of crafts to art means we now must judge his work as we do painting and sculpture.” In a review in the New York Times of his 2014 exhibition at Gladstone Gallery, Ken Johnson wrote, “At once bracingly ugly and sensuously beautiful, the recent ceramic sculpture by the British artist Andrew Lord look as if they’d been made by a clumsy but aesthetically sensitive giant. Contemporary clay sculpture doesn’t get much better than this.” Influence In 2002 Adriaan van Ravesteijn, collector gallerist of Amsterdam's Art & Project, used an allegory of a sea of sculptors' to describe Lord's unique approach: “We would have to look for him at the outer limits of the convoy, far from other artists, amid a wide expanse of sea. Along the flank of this ship we can still see clear signs of damage from a collision that he once had with another ship. Many years ago, ceramists sailing the waters of the applied arts had tried to abduct him to their own camp. Unfortunately for them, but not for us, the attempt failed, so that Andrew Lord was able to dedicate himself to sculpture, an art form which he has now enriched with a completely unique artistic language” Described as an "artist's artist" by Jerry Saltz, Lord's work from the 1970s onwards was collected primarily by fellow artists including Barry Flanagan, David Hockney, Jasper Johns, Ellsworth Kelly, Mark Lancaster, Roy Lichtenstein, Peter Struycken, Cy Twombly and Ugo Rondinone. Ceramics historian Garth Clark described Lord as ‘a style’s originator’. In 2015 he wrote, “There is something of an irony about the work in Andrew Lord’s new exhibition at Barbara Gladstone Gallery...Lord has always been unique, a loner. His approach to clay gives an aura of craftlessness...the seeming casualness with which he moves the clay and the “sloppy” glazing has irked the ceramics community for five decades while at the same time intriguing the art world. However, now his “look” is everywhere, Lord Pots and Lord Sculptures abound throughout New York and beyond...For the first time Lord is now competing in a genre he pioneered and in many ways founded.” Describing Simon de Pury’s 2015 exhibition ‘Fire’ at Venus over Manhattan Gallery, Ian Volner wrote, ‘The medium first caught Simon’s attention in the mid-1990s, when he happened on a show by Lord, a New York–based