Monday, 22 September 2014

Masquerade - Opens this friday!

 
 
Tune into the mystery and excitement of the masquerade! This exhibit is a combined juried/curated show, with artwork from artists who were intrigued by the theme and applied, as well as art work from artists invited to share their work. There are literal masks and there are metaphorical masks, there are figures and faces and totems.
Santa Fe artist Max Lehman juried and curated the show creating a bewitching experience. Lehman juried local and regional artists who answered our call for artists. He also invited fellow artists from all over North America who sent work from as far away as Canada and Hawaii.
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Fuller Lodge Art Center - 2132 Central Avenue - Los Alamos, NM 87544 - 505-662-1635

VII Biennal Ceramica del Vendrell


Martí Carnicer Vidal, mayor of El Vendrell, is pleased to invite you to the inauguration of the exhibitions about the VII Biennale of Ceramics of El Vendrell, which will take place on Friday  3rd of October. 
At 18 h, in Galeria Camil·la Pérez Salvà,
Ceràmica: Teresa Marta Batalla. The exhibition will be open until the 29th of November.
 At 19 h, in Apel·les Fenosa Foundation,
Fenosa i la porcellana.  The exhibition will be open until the 28th of February. 
At 19.30 h, in Sala Portal del Pardo,
VII Biennale of Ceramics 
and awards ceremony of the contest.
Pálma Babos, Andrew Casto and
Miguel Molet will exhibit their works.
The exhibition will be open until the 2nd of November. 
At 20.30 h, in Sala Portal del Pardo, conference with
Pálma BabosAndrew Casto and Miguel Molet.

Job Posting: NOVA SCOTIA CENTRE FOR CRAFT AND DESIGN

NOVA SCOTIA CENTRE FOR CRAFT AND DESIGN
WINTER 2015 Courses and Workshops
(Deadline: October 17th
The Centre for Craft invites professional artists to submit teaching proposals for courses or workshops for WINTER 2015 in wood, glass, ceramic, metal, and fiber.
The Winter 2015 term will run from January 19th to March 29thWe look forward to expanding our craft mandate and therefore also invite proposals in other mediums or combinations of mixed media.
PLEASE NOTE:
If you are re-submitting a previously taught course then you can just submit your preferred dates and times and we will do our best to accommodate you.  New images are always appreciated.  
Your proposal package should include the following information:
1. DESCRIPTION of the proposed course or workshop as you would like it to appear on the course brochure, fun, exciting and to the point! (MAX 75 words).
- Please include preferred dates, times and duration of the course.
- Maximum number of students in the class.
- Materials list or materials cost for students.
2. COURSE OUTLINE including brief descriptions of what is to be covered in each week’s class.
3. Current C.V. as it relates to your art practice.
4. BIO to appear on the Centre for Craft's web page(MAX 150 words). Also include a link to your website if you have one.
5. DIGITAL IMAGES one of your most recent works to appear on the Centre for Craft's web page and the course brochure. Also include images of process and project images.
You can send proposals electronically by email tostudiocoordinator@craft-design.ns.ca
Nova Scotia Centre for Craft and Design
Studio Coordinator
1061 Marginal Road, Suite #140
Halifax, Nova Scotia B3H 4P7
If you have any questions, please feel free to contact Meredith Robb Hang,
Studio Coordinator, at 492-2524.  studiocoorinator@craft-design.ns.ca

PAST AND PRESENT - YING-YUEH CHUANG

 

www.yingyuehchuang.com
 www.kwantlen.ca/arts/fine-arts

monday morning eye candy: Yeoju Dojasesang



via pinterest

Sunday, 21 September 2014

emerging artist: Terry Hildebrand





 


Bio:

"Originally from a small town in Manitoba. I currently live  in Minneapolis where I am in my third year of the MFA program at the University of Minnesota. I graduated from the School of Fine Art, University of Manitoba in May 2007 with my honours degree in ceramics and a major in painting. From 2008 until 2011 I worked as studio technician in the Ceramics department at the UofManitoba. I have been part of several group shows at the Manitoba Crafts Museum, the Gallery of Student Art, Outworks Gallery, and Ace Art.
         
I make ceramic work out of porcelain, with a focus on teapots and cups. I fire the pieces in a soda or a wood kiln to give them a delicate flashing of reds, oranges, blues and greens. The earthy tones reflect the earthen qualities of clay. I present my work in groupings, mostly on wooden trays. Good craftsmanship, ergonomics, and visual balance are important in my work. The main purpose of my utilitarian ceramic work is undeniably its function. The ritual of its use becomes a central experience. I create playful sets that  entice the users to interact with each other and the tray. The sharing of food, drink, fellowship, and play lie at the heart of our existence and the conscious ritual and enjoyment of these are greatly enhanced by the experience of the visual and tactile senses that the ceramic wares address."

http://potterry.com/Terry/Terry_Hildebrand.html

Friday, 19 September 2014

Porcelains by Adam Field and Heesoo Lee @ Trax Gallery



THIS SATURDAY SEPT. 20TH

 "Porcelains"

September 6th - October 5th, 2014

Adam Field and Heesoo Lee

Reception for the artists from 5-7 pm*
*Reception for "Porcelains" will be held after Adam's workshop at the Walnut Creek Clay Arts Guild. More info and signup here: www.arts-ed.org


TRAX GALLERY
1812 5th Street, Berkeley, CA  94710
Wednesday - Sunday 12 - 5:30

True North: Contemporary Canadian Ceramics

Brendan Tang
Alwyn O'Brien
True North: Contemporary Canadian Ceramics
Sept 26 – Nov 9, 2014
Gallery M, Northern Clay Center

Opening Reception: Friday, Sept 26, 2014, 6 – 8 pm
True North: Contemporary Canadian Ceramics Artists Lecture with Alwyn O’Brien and Robert Archambeau: Thursday, September 25, 2014, 6-8 pm
Additional Artist Lecture with Artist Rory MacDonald: Tuesday, October 21, 2014, 6:00 pm
Admission: Admission is Free. Advanced registration for the lecture is encouraged.


2014 Regis Master: Walter Ostrom
Sept 26 – Nov 9, 2014
Emily Galusha Gallery, Northern Clay Center

Ostrom will give a free public lecture at the Minneapolis Institute of Arts, in the Pillsbury Auditorium, September 27 at 2pm.



Bruce Cochrane


Leopold Foulem
Amelie Proulx


Michael Flaherty

Robert Archambeau
Rory MacDonald
Xanthe Isbister

True North - the phrase comes from the Canadian National Anthem - will survey contemporary Canadian Studio ceramics. The border with Canada is, artistically, an open one: important Canadian Artists live and tech in the United States and some of the most important figures in Canadian ceramics were born in the United States. Representing such a large and diverse country and ceramic culture is not easy. True North brings together established figures and emerging artists. They represent the full geographical sweep of Canada from coast to coast, as well as the full spectrum of ceramic expression  - from uitilitarian pottery to abstract sculptures to mixed media creations. True North: Contemporary Canadian Ceramics is the first of two exhibitions highlighting hte countries that share borders with the United States. The second exhibition, in September of 2015, will feature the work of contemporary Mexican artists.

Walter Ostrom
2014 Regis Master: Walter Ostrom
September 26 – November 9, 2014, Emily Galusha Gallery

Walter Ostrom is Northern Clay Center’s 27th Regis Master; he is one of two ceramic artists bestowed with the title in 2014.  The other, Adrian Saxe, was featured in an exhibition in spring of 2014.  The Regis Masters Series began in 1997, and honors senior artists who have had a major impact on the development of 20th and 21st century ceramics.  The Regis Masters Series was originally supported by Regis and Friends and continues today through generous support from Anita Kunin and the Kunin Family, in honor of the late Myron Kunin, a philanthropist and former owner of the Regis Corporation.

Ostrom will add his story to a limited oral history of a senior generation of ceramic artists on Saturday, September 27, at 2 pm, with a free public lecture at the Minneapolis Institute of Arts, in the Pillsbury Auditorium.

Related Events



We are excited to welcome Alwyn O’Brien to Northern Clay Center as a resident artist for the month of September. Stop by to visit her during daytime hours as she creates new work for the exhibition.

O’Brien will join Robert Archambeau for a free lecture on Thursday, October 25, from 6 to 8 pm in NCC’s Library. No pre-registration is required, but seating is limited.

Exhibition artist Rory MacDonald will join us in October for another special event. In addition to visiting with University of Minnesota students during his trip, please mark your calendar for Tuesday, October 21 at 6:00 pm when MacDonald will give a special free presentation at NCC.



ABOUT NORTHERN CLAY CENTER
Northern Clay Center's mission is the advancement of the ceramic arts.  Ongoing programs include exhibitions of sculpture and pottery by regional, national, and international artists; classes and workshops for children and adults; studio space and grants for artists; and a sales gallery representing many top ceramic artists from the region and elsewhere.  Guided tours, hands-on events and artist demos are available.  The facility is handicapped-accessible.  Additional information about all programs can be found at our website at www.northernclaycenter.org

The Center is located at 2424 Franklin Avenue East, Minneapolis, MN 55406. It is one block south of Interstate 94, between 24th and 25th Avenues, just off the Riverside/25th exit.  Gallery hours are Tuesday, Wednesday, Friday and Saturday, 10 am to 6 pm; Thursday 10 am to 7pm; Sunday noon to 4 pm; closed Monday.

Frederick Mulder Foundation donates Picasso ceramics to Remai Modern





Media Release: for release Wednesday, September 17, 2014, at 3 p.m. CST

Saskatoon —Philanthropist and European printmaking specialist Frederick Mulder today announced, on behalf of the U.K.-based Frederick Mulder Foundation, the gift of an important collection of ceramics, made by Pablo Picasso, to the Remai Modern Art Gallery of Saskatchewan.

The 23 works, including ceramic plates, tiles, vessels, vases and sculptures, are valued at $500,000. The pottery collection enhances an already exceptional collection of 406 linocuts by Picasso, assembled by Mulder and subsequently purchased by the Frank and Ellen Remai Foundation and donated to the Gallery in 2012.

“We are delighted to receive this important gift and applaud Frederick Mulder for his generosity and belief in the vision for Remai Modern,” said Executive Director & CEO Gregory Burke. “The gift builds on our holdings of one of the most influential artists of the 20th century and will enhance our ability to interpret and present significant aspects of Picasso’s artistic practice. The gift is broad in range, while several ceramics are thematically connected to the linocuts. Altogether, they make for a comprehensive collection that will excite visitors, students and researchers when Remai Modern opens.”

Frederick Mulder said: “I am delighted to present these Picasso ceramics to the Remai Modern, and to know that the residents of Saskatoon and well beyond will be able to enjoy these innovative and playful aspects of Picasso’s work. They will serve as a wonderful bridge between the highly important Picasso linocut collection in the Remai Modern, and the tradition of Saskatchewan art ceramics. I loved growing up in Saskatchewan, and I count myself lucky to be able to give something back to the city and the province that gave so much to me.”

The ceramics will be exhibited in a gallery dedicated to Picasso and works of international modernity at Remai Modern, Burke said. The new gallery, under construction at Saskatoon’s River Landing, is scheduled to open in 2016.

About Frederick Mulder
Mulder grew up in Eston, Saskatchewan. He is one of the world’s experts in 19th- and 20th-century European printmaking, including the work of Pablo Picasso. He is Director of Frederick Mulder Ltd., a firm dealing in European printmaking 1470-1970. He chairs the Frederick Mulder Foundation, which supports social change projects and the arts. He is also founder of The Funding Network, a UK-based organization that arranges live, crowd-funding events in aid of social change projects. Winner of the Judges’ Special Beacon Fellowship Prize in 2004, he was made a Commander of the Order of the British Empire by the Queen in 2012.

For further information and images, contact:
Sheila Robertson, Communications Coordinator
Mendel Art Gallery / Remai Modern Art Gallery of Saskatchewan
306-975-2242   srobertson@remaimodern.org
www.remaimodern.org

LAST CALL 1 October: DEADLINE for FALL 2014/SPRING 2015 residency applications

Sukjin Choi & Misty Gamble's final show July 2014

You still have time to apply for Fall 2014/Spring 2015 residency periods at c.r.e.t.a. rome. Get inspired by the eternal city!

We offer artist residencies for ceramic artists and visual artists for periods of 6 weeks or 3 months. For Fall 2014/Spring 2015, the residency periods are:
FALL 2014 residency periods: we still have a few spots available so contact us asap!
25 SEPTEMBER-4 NOVEMBER
6 NOVEMBER-16 DECEMBER

SPRING 2015 residency periods: deadline 1 OCTOBER 2014
19 FEBRUARY-24 MARCH

2 APRIL-12 MAY
ARTISTS INVITE ARTISTS (we will post more info soon!):
16 – 30 MAY
SUMMER residency periods: deadline 1 MARCH 2015
1-30 JUNE
1-30 JULY

The residency includes a semi-private equipped studio, shared housing (private room) in the historical center of Rome, and technical assistance in procuring materials, firings, etc., advice on museums, galleries and sites in Rome and beyond. Artists have the opportunity to focus on their art, whether it be creating a new body of work, expanding a well-established oeuvre or allowing themselves to draw inspiration from their surroundings and the centuries of culture that define the eternal city. In addition, they will have access to the wealth of galleries and exhibitions in Rome and beyond. Artists are encouraged to exhibit the work created during the residency period n a final group show
.
We also offer a residency in the countyside near Bracciano, with private accommodation in a 1-bedroom house with a garden and a private studio. This option is particularly attractive for collaborative projects and/or ceramic artists who work with reduction firing.

A selection committee composed of artists, art critics and historians carefully evaluates applicants based on their artistic experience, merit and project proposal. For more info and costs, contact Lori-Ann Touchette, cretarome@gmail.com or see our web-site: www.cretarome.com.

To apply, please submit the following by e-mail to cretarome@gmail.com:
    curriculum vitae
    artist statement (250 words max)
    project proposal (500 words max)​​ and preferred residency period
    10 images (jpeg or pdf), image list with year, materials & dimensions

view from the terrace of our palazzo

call for entry: Seventh Annual Cup Show: Form and Function

Gulf Coast State College Amelia Center Gallery is hosting a juried exhibition that explores the idea of the drinking vessel.

The exhibition will focus on the function and concept of the drinking vessel; including its relation to history, politics, craft, technology, utility, and narrative. The goal is to offer a survey of the wide array of approaches to contemporary ceramics through the lens of the most intimate and accessible vessel, the cup.


Juror Chandra DeBuse is a studio potter and educator in Kansas City, MO.  She received a Bachelor's degree in Psychology and studied ceramics at the University of Nebraska-Lincoln before receiving her MFA from the University of Florida in 2010. Chandra completed artist residencies at the Armory Art Center (FL), Arrowmont School of Arts and Crafts (TN) Red Lodge Clay Center (MT), and Watershed Center for the Ceramic Arts (ME).  In 2012, Chandra was recognized as an emerging artist through NCECA and Ceramics Monthly magazine.  She has exhibited her functional pottery at Northern Clay Center (MN), SOFA-Chicago, AKAR (IA), Blue Spiral 1 (NC), The Clay Studio (PA), The John Michael Kohler Arts Center (WI) and The Craft in America Study Center (CA). Chandra has lectured, taught classes and led workshops at Arrowmont, Baltimore Clayworks (MD), Red Star Studios (MO), St. Pete Clay Company (FL), and Gulf Coast State College (FL), including a study abroad course at the Skopelos Foundation for the Arts, Greece.


Exhibition Dates: November 24 – December18, 2014
Application Deadline: October 23, 2014


Apply online @ https://client.smarterentry.com/acg
For more information, visit: http://www.gulfcoast.edu/arts/art/gallery/requirements.htm or email pamromin@gulfcoast.edu

job posting: Visiting Artist in Ceramics

SCRIPPS COLLEGE
CLAREMONT, CALIFORNIA 91711
LINCOLN VISITING ARTIST IN CERAMICS
AT SCRIPPS COLLEGE AND CLAREMONT GRADUATE UNIVERSITY
BEGINNING FALL 2015

Scripps College, a women’s liberal arts college with a strong interdisciplinary tradition, invites
applications for the Lincoln Visiting Artist in Ceramics position. This is a three-year
nonrenewable position beginning fall 2015. An M.F.A., demonstrated excellence in teaching at
the college level, and an active exhibition record are required. Applicant must be conversant in
contemporary art theory, hand building, wheel throwing, gas and electric kiln firing processes,
glaze chemistry, and ceramics history past and present.

Teaching load includes two undergraduate ceramics courses per semester, and working with
Graduate Art students at CGU one day a week.

Please submit a letter of interest, CV, artist’s statement, digital portfolio of your own and
students’ work, image list, sample syllabi, teaching evaluations, and three letters of reference to:
https://academicjobsonline.org/ajo.

Review of applications will begin Dec. 1, 2014.

Preference will be given to applicants with a commitment to the College's goal of improving
higher education for underrepresented students.

Scripps College is one of seven members of The Claremont Colleges Consortium located 35
miles east of Los Angeles. In a continuing effort to build a diverse academic community and to
provide equal educational and employment opportunities, Scripps College actively encourages
applications from women and members of historically under-represented groups.

For questions, please contact:

Adam Davis
Chair, Ceramics Search Committee
Department of Art, Scripps College
1030 Columbia Avenue, Claremont, CA 91711
adam.davis@scrippscollege.edu

Tuesday, 16 September 2014

Coast to Coast to Coast @ the Art Gallery of Burlington

 
 
The Art Gallery of Burlington is excited to kick off the Fall 2014 exhibition schedule with a celebration of contemporary Canadian ceramics. Coast to Coast to Coast will feature ceramic works from the AGB’s permanent collection to tell of the development of contemporary ceramics in Canada, and how the art form has developed through time. Portrait of a Collector explores the influences of Herbert Bunt on the growth of the AGB collection, and his role as the first major donor to the Gallery.

Coast to Coast to Coast
September 27, 2014 – November 9, 2014
Location: Lee-Chin Family Gallery
                 
Artists: Various artists from the AGB Collection
Curator: Jonathan Smith
Reception: September 28, 2-4pm
Related Lectures: Coast to Coast to Coast by Jonathan Smith, October 8 at 10am
Unique and universal – Quebec ceramics by Denis Longchamps, November 12 at 10am

 

The Exhibition:

The growth of the collection over the years has enabled us to recognize not only the breadth of expression that the ceramic medium encompasses, but also the regional, national and international influences that are expressed in the work. Regional differences that were influenced by historic developments and nurtured by the craftspeople and institutions, bump up against international art movements that helped to create artists with highly personal viewpoints. Canada with its multicultural background has welcomed these influences and grown with them. The idea of ceramics as an art form is a relatively new development in the history of the country, only arising in the late fifties and early sixties. Before then the medium had only existed in the mass production of functional pieces. The movement began with the influx of artists working in the tradition of Leach and Hamada, and the young generation of Canadians that arose in the sixties. The new energy that arose in the sixties was at first focused on expressive functional work. Over the ensuing decades, this has broadened out with ever increasing emphasis on the sculptural aspect of the medium, in particular with the rise of artists who investigate the intersection of the functional with ever increasing sculptural intentions. This in turn is bringing the medium to multi-disciplinary intersections such as installation and video. This exhibition looks at the roots of the movement, the regional origins of trends and the growing maturity of Canadian ceramics in the wider world.
   



technical tuesday: the price of a mug


about a month ago i had a conversation with one of my galleries about the price of my mugs. i've been selling them locally for $35 CDN pretty much regardless of size since the time put into each piece is roughly the same. i throw these cups on the wheel. handles are added. each has a unique one of a kind, not printed, but hand drawn illustration on it. they have numerous colors added and fired to cone 6 in electric.

for the holiday season this gallery is requesting 24 mugs. it's alot for me. i can't produce full time with all the other aspects of managing my career and of course raising my kids. i have 2 holiday sales coming up wherein i know mugs will be the best sellers, so it becomes difficult for me to justify shipping (and paying for that shipping) the work cross country only to receive %50 of the selling price.

if i was working full time these cups would take a proper weeks worth of hours. they are that labour intensive. so lets do the math shall we.... 24 mugs x $35 = 840. Divide that by %50 you've got $420. Shipping will cost me approx $60 for that (2 boxes properly packed so as to not lose any pieces). $420-$60 = $360. Packing materials = $12. Material expenses: clay - $25, glaze - $8, underglaze - $4, firings - $40 (approx on these material expenses, i haven't weighed or calculated the extact glaze quantity, etc. but i base these on figures i established a few years back for a grant). Total material expenses: $77. Studio fees: well i use my basement and my garage so i won't factor that in right now, but there are heating and electrical costs associated and i can only imaging if i was paying rent on a studio out of the home) so where are we at? $360 - $12 - $77 = $271. $271 divided by the 24 mugs = $11 a mug. or lets look at my time: one week of work, lets say 6 hours a day so 30 hours: $9/hour is what i'm paying myself.

oh and there is nothing left over for actual profit margin.
right.
minimum wage in Saskatchewan where i live: $10.20.

how much did those two degrees cost me again?

I'm venting i know. but i was offended when the gallery staff was reluctant to let me raise my prices. 

how do i feel about $35? i feel a few things. i feel that the local community/audience has a limit of how much they'll pay. i live in Saskatchewan. we are known for lower priced work. a local established potter during my undergrad years sold his mugs for less then $25 (at the time) and once told me i was disrespectful and presumptuous to ask for more then those that have been practicing for longer then i have been. i have since truly upped my middle finger to such talk.

there is a system that i understand i must work within. there are different levels of skill and techniques that are more labour intensive that can charge more. but i won't pander to the idea that my years of experience can only charge certain prices. i like to think that i address the market demands and what they are willing to pay.

but then what happens when you sell at a %50 commission rate at galleries? and what happens when you sell outside of your local market, perhaps even internationally where price points differ?

so do i sell for $35 locally by myself, take a %50 cut with galleries (plus have to pay shipping costs), and then sometimes come in much lower then other artists in an exhibition in a different market - being the jerk that undercuts all their hard earned prices? in an more international market place how do we price our work to address all these scenarios? we aren't selling and exhibiting locally anymore so how do we level the playing field or develop a system that works where in artists feel respected and well paid?

and if we are pushing our audiences to pay a proper price for our work, should our galleries not also be a part of that system of educating the audience to a fair and sustainable value for our work? i wonder how they answer the question of how can artists charge so much when mugs sell for $5 at walmart. cuz i personally am beyond tired of justifying that.

anyway, enough of a rant from me. the above image shows a lot of the answers I've received from artists. this of course doesn't illustrate anything about scale, technique, market and the like, but it's a interesting starting point for looking at the price of a mug.