Saturday, April 19, 2014

emerging artist: Daniel Listwan




 

 
In these works I utilize the decorative tradition of Josiah Wedgwood’s Jasperware line and alter it. The functional object here is not a teacup or trinket box but rather iconic scientific instruments used frequently in microbiology for researching microscopic bacterium, pathogens and other such organisms. The images on these vessels are not of pretty, benign neoclassical scenes, but rather of mutation-causing, death-spreading malign life forms such as anthrax, Ebola, Yersinia pestis (Black Death), H5N1 and other such biohazards. Unlike the gods and heroes depicted on Wedgwood’s Jasperware, these flasks depict the life forms we should truly fear and respect, the ones that remind us that the human animal is not as superior as we might hope.

danlistwan.com

Wednesday, April 16, 2014

In Full Bloom @ Baltimore Clayworks




adero willard



allison luce

View the show online at: www.baltimoreclayworks.org

job posting: The Ceramic Publications Company

Did you know there is a nonprofit multimedia publishing company focused entirely on studio ceramics? Well there is (it's us!) and we have a new position available on our editorial team.


Ceramics Monthly Pottery Making Illustrated DVDs Art Books


The Ceramic Publications Company is seeking an Assistant Editor to contribute to our content-acquisition and editing efforts for Ceramics Monthly, Pottery Making Illustrated, art books, and Ceramic Arts Daily. This is a full-time position located in our Westerville, Ohio, office. 
We're looking for someone with a comprehensive understanding of contemporary studio ceramic artists and processes. For full details and application requirements, check out our employment ad on either Monster or on LinkedIn.
If you think this might be your dream job, let's talk. If you know someone who would dream of this job, please share this with them. 
Sherman Hall
Managing Director, Ceramic Publications Company

congrats to ACAD!

ACAD Receives Approval to Offer Its First Graduate Program: Master of Fine Art in Craft Media


After a recent review by Alberta Quality Council, ACAD has been granted approval to offer a Master of Fine Arts in Craft Media beginning in January 2015.

This approval is the culmination of years of hard work and dedication from many members of the ACAD community. Professor Dianne Taylor-Gearing, Vice President Research and Academic Affairs and her team worked diligently with the Province and members of Faculty to ensure that the application for the MFA met Campus Alberta Quality Council’s rigorous academic standards.

“All in Academic Affairs who have been working on this should be commended as this is a major milestone for the Alberta College of Art + Design as it enters the next phase of its evolution in providing graduate educational leadership in arts and craft,” says Dr. Daniel Doz, President and CEO of ACAD.  “I wish to extend my thanks to the MFA team members for their dedication to: Mackenzie Kelly-Frere, Charles Lewton-Brain, Tyler Rock, Wayne Baerwaldt, Laura Vickerson, Jennifer Salahub, Mireille Perron, Greg Payce, Kurtis Lesick, and Natali Rodrigues with a special thank you to a number of significant contributors including Marc Scholes, Christopher Willard, Carissa Cameron Matthews, Alice Joshua and Dianne Taylor-Gearing”.

A successful country requires highly qualified creative people engaged to make Canada the best place to live, work and play. “The MFA in Craft Media establishes ACAD as a unique international centre of excellence for graduate studies in ceramics, glass, fibre, metals and jewelry,” explains Professor Taylor-Gearing, Vice President of Academic Affairs. “We are excited to welcome the first MFA graduate students commencing January 2015 from Alberta and beyond.”

With the addition of the MFA in Craft Media, ACAD will be a destination for many members of Canada’s cultural community wishing to further their education.   By offering diverse and cross-disciplinary programs at both the undergraduate and graduate level, ACAD will be recognized as one of Canada’s leading art and design colleges. 

Approval of the MFA is one of many foundational steps to realizing the strategic priorities identified in the 2012 Strategic Plan.  The Alberta College of Art + Design is unique among its Campus Alberta partners – it is the only College with a provincial mandate for art and design education and is now the only College to grant graduate degrees. 

http://acad.ca/wh_news_2014_04_master_fine_art_craft_media.html

movie day: Paulus and Clay

Paulus and Clay from TOTM Film on Vimeo.


At the 2013 NCECA ( Nation Council on Education for the Ceramic Art) Paulus Berenson was made an Honorary Member of NCECA, a 10,000 strong organisation representing artists throughout the USA. This edit from the film was played as part of the ceremony.
For more information on Paulus Berensohn the documentary about his life and work go to:
springfromthehand.com

Tuesday, April 15, 2014

CALL FOR ENTRIES: The Clay Cup: Vessel, Icon, Canvas


A national, juried cup exhibition open to functional, design-based, and sculptural interpretations of the clay cup. 

Postmark deadline: June 15, 2014
Download the prospectus here

Unspoken: recent ceramic sculpture by Lyndsey Fryman @ Marta Hewett Gallery



March 28, 2014 - May 24, 2014


My sculpture is life, retold though a filter of symbolism and allegory.  The work I produce is inspired by what surrounds me every day as a mother, a farmer, and artist. In each piece there is a story behind its creation; they are pieces of me, like a personal journal.  Each sculpture represents my maternal experience, and the metamorphosis of that experience as mother and child grow, learn and demonstrate their moral and physical understanding of the world.  My work hints at something beyond the surface; a concept that reveals something beautiful, or enlightening that wasn’t easily understood.   I wanted to show the learning, growing and changing aspects of our lives; in the same manner old allegorical tales revealed the true nature of the human condition.
 
The metaphorical nature of the work asks the viewer to think outside of the norm, and into a place where the moral of my story is relevant. This body of work relates to the concerns and observations I have had as a mother raising a child with autism.  The viewer is given a glimpse into the internal experience I have with the development of child relationships when autism is a factor. Concepts and themes that encompass this body of work include the relationships siblings, peers, and mothers have with one another, and the social dynamics therein.
 


technical tuesday: Harlan House at the throwing wheel




Sunday, April 13, 2014

emerging artist guest post: Joel Cherrico

 I recently meet Joel at NCECA. He had contacted me in the past about the emerging artist posts and was already on the list for a profile on the blog. He then sent me the following guest post about his experience at NCECA this year. Grab a cup of coffee and have a nice read on a lovely Sunday morning.



"I am interested in exploring the role of handmade pottery in today’s world. Industrialized ceramics has eliminated the need for handmade wares, so the potter has redefined his/her place in society by creating an artistic visual language through production of handmade, utilitarian vessels.  In that case, why make utilitarian vessels?  I believe the ability to eat and drink from pottery creates a heightened sense of approachability to the artwork, allowing viewers to develop relationships through active participation. I limit my use of tools, constantly exploring ways to communicate the touch of my hand in each pot."
www.cherricopottery.com

Generous Community Building: An Emerging Artist’s Experience at NCECA, 2014

“We should make work that elevates the ceramic field, and elevates all human beings.”
- Theaster Gates, Keynote Speaker for NCECA, 2014.
 
NCECA 2014 was mindblowing. Never have so many of my clay heroes been in one place at the same time. Even more amazing was the fact that all of them were there to answer questions face to face.
~
Since graduating with a B.A. in Art in 2010, I’ve had 2 main goals: support my livelihood as a full-time potter and join the contemporary ceramics scene. Pottery sales got me to NCECA this year, but becoming a voice in the clay world is a slow, steady process. Ben Carter calls this, “going pro.” I’m not there yet, but here are some highlights of how I approached NCECA to try and join this world.
~
Gave Away Free Pottery
~
I attached business card images to plates and shot glasses, guaranteeing these would stand out among the thousands of paper posters, postcards, and business cards. People instantly snatched them up. As clay artists, if we’re willing to invest so much time and money into paper ads, why not invest that into advertising with clay instead?
~
Clay Shot Cup Business Advertisement, Joel Cherrico Pottery
Stoneware Shot Cup Business Cards, Joel Cherrico Pottery
~
…especially when NCECA is filled with thousands of paper advertisements.
~
NCECA Advertisements, Photo by Joel Cherrico, 2014
~
Brought Mugs to Critique
~
I drove to NCECA with a box of 30 mugs. At first, I was sure I could sell them. In reality, my simple, Minnesota pottery mugs seemed like a dime a dozen. So I filled my backpack with mugs and pulled them out to critique with whoever was willing. This led to numerous solid critiques with some of my heroes in the clay world…Adam Field, Danny Meisinger (Spinning Earth Pottery), Keith Williams (former NCECA President). I ended up just giving away over 20 mugs with business cards.
~
With help from a good friend and artist Jim Mcallister, I spent $50 to make over 60 of these to give out at NCECA as my business cards:
~
Business Cards, Joel Cherrico Pottery, 2014
~
Sought out Clay Heroes and Asked Them Questions
~
Danny Meissinger of Spinning Earth Pottery setup the premier display as you walked into the expo hall. After sparking up conversation with him, I said, “Danny, I’ve been a full-time potter for 4 years and this year I want to make 7,000 pots.” He walked away from his gallery display, pulled out a folding chair and said, “Sit.”
~
20 minutes later I was still sitting, thumbing through a box of his coffee mugs while he held one of mine. Here are some of his insights:
~
“Make 7,000 pots this year, get that shit out of your system. Because you don’t want to be 58 years old with 2 cysts in your left hand and pain in your shoulder. But do it this year, I’m going to look you up next year to see if you did it.”
~
“You owe it to yourself to raise your prices and lower your production. If you make 7,000 pots my prediction is that you will raise your sales, but it won’t be sustainable.”
~
Below is a photo I shot during 2010 NCECA in Philadelphia. I was a senior in college. Danny remembered talking with me 4 years ago. This definitely helped us connect on a deeper level.
~
Danny Meisinger Spinning Earth Pottery NCECA 2010 Philadelphia Joel Cherrico Pottery 2014

~
Next I found Chris Gustin and shot him some questions. He answered with this simple, powerful quote:
~
“I love my gallery work and it still sells, but ceramic tiles really pay the bills. And I still do work on the tile side of the business too. I’ve found that if you have cash flow you can do anything.”
~
Accompanying this great quote was a shot of him smiling next to 3 of his vessels during the “Flow” exhibition in the Milwaukee Art Museum:
~
Chris Gustin, Milwaukee Art Museum, Joel Cherrico Pottery, 2014
~
North Carolina potter Mark Hewitt gave equally powerful one-liners. He said these during his panel, “Where Have All the Studio Potters Gone?” As a young potter trying to make a living and build a business, I though his advice was spot on:
~
“Teaching is a form of generosity.”
~
“Be realistic about your financial resources…do you have access to capital and land?”
“Go visit the potters whose work you like.”
“Be humble. Get an internship or an apprenticeship.”
 ~
“The first thing I tell a prospective apprentice is, ‘You don’t want to be a potter.’ It’s not easy, even in the best of conditions…some still want to defy the odds, and I’ve had 20 apprentices over the last 20 years. Six are making a living entirely from potting, six are making pots and have extra income from an extra job, or from a spouse, six are in various stages of transitioning…two are no longer potting.”
~
“My most successful apprentices are those that worked the hardest, and wanted to succeed the most.”
~
“If they have settled close to me, they have tended to do better (by stealing my business!)”
~
“We need mainstream advocacy for pottery…wouldn’t it be nice if ‘Ghost’ was remade…How about a sitcom set in a pottery studio? With a master potter and a stoner apprentice…”
~
“Why are there no potters in People Magazine?”
~
“Build on pre-existing support structures. Build community.”
~
“Go where there is money, go where there is clay.”
~
Those last few really got to me. Why don’t we see skilled potters throwing on national TV? I return to NCECA Keynote speaker, Theaster Gates, who may have taken the first steps toward making this a reality with his spot on the Colbert Nation.
~
Stepped up to the Mic
~
I snapped this before asking a question at the #virtualclay panel in front of 200+ spectators. Sorry for the blur, but my hands were shaking.
~
Virtual Clay Panel NCECA 2014 Joel Cherrico Pottery
Oh and that woman in front of me with the long black hair…that was Ayumi Horie, and my question was about her…awkward!
~
She’s one of my heroes because she’s an innovator to her core, while remaining true to the pots she wants to make. Chris Gustin shows 2 bodies of work: vessels for galleries, and tiles to pay the bills. But Ayumi Horie makes her pots, markets her pots ingeniously, and sells them all. Here was my question for the panel:
~
Question: ”I’ve been closely studying Ayumi since 2008, and I built my website after seeing her consistently sell so much pottery online for such high prices. Why do you think she’s had so much success? Is it her staying power? The prestigious places she’s studied? Her writing in Ceramics Monthly and American Craft Council?”
~
(Ayumi locked eyes with me right as I spit out the question.)
~
Answer: “Generosity. She volunteers and donates so much of her time to the ceramic community and the community gives back.”
~
More was said, but that’s what I took from the panel responses. Generosity was a reoccurring theme that I kept hearing people bring up. After the panel, Ayumi came to me and introduced herself. I apologized for being awkward, but she said, “No worries it was a good question, let’s keep in touch.” I gave her an “Indian Head Penny” business card and she thanked me.
~
Ayumi Horie Joel Cherrico Pottery 2014, Musing About Mug Guest Blog PostAyumi Horie Instagram, Joel Cherrico Pottery, 2014    
~
The next day she blew up my Instagram. I was so happy I got teary eyed. I mean here was a person I’ve been studying closely, copying her web design, scrutinizing all of her accomplishments, for over 5 years. She finally sees my work and actually likes it. That validation was pretty powerful. That wasn’t the only time tears came up in the conference.
~
Danny Meisinger was also the guy who broke the news to me that Don Reitz had passed away. He said, “Don’t be sad. Reitz lived a great life, he died in the company of his friend (and heroic clay artist) Jun Kaneko and family by his side. He said, ‘I’m gunna go lay down for a while’ and that’s exactly what he did. Death is just another path.” I still went to my car and balled like a little kid. Why did his death hit so hard? Maybe it was seeing him go through 2 wheelbarrows of clay in 2 days during a 2009 workshop in Flagstaff, AZ. Maybe it was meeting Christa Assad at that same workshop, where we had both had been so moved by his slide lecture that we were brought to tears.

Don Reitz Throwing, 3 Images, Joel Cherrico Pottery, Abstract Expressionism in Clay, Flagstaff AZ

Don Reitz Workshop, Flagstaff AZ, photos by Joel Cherrico

Christa Assad Facebook, Don Reitz, Joel Cherrico, NCECA 2014 
 
Maybe it was the fact that I was talking about Reitz with Christa earlier that day- all on Facebook! Or the fact that Reitz had zero pots at NCECA that year, and Christa couldn’t attend because she’s recovering from the fire that burnt down her studio. Either way, the experience of Reitz passing away was powerful, and we shared some powerful moments, even though it was only on Facebook.
Christa Assad Facebook NCECA 2014 Joel Cherrico Pottery
~
“The people I meet on social media are really the same people when you meed them in person. It’s kind of amazing.” – Carole Epp.
~
Carole gave me a huge hug at NCECA when I first met her.
~
The last day, emerging artist Renee Brown started her presentation with a great quote from Reitz. I frantically wrote it down. I think it encapsulates his life as an Abstract Expressionist in clay, and his love of NCECA:
~
Don Reitz Quote, NCECA 2014 Closing Lecture, Joel Cherrico Pottery, 2014
~
The conference ended and I wandered over the Milwaukee “Historic Third Ward” to walk around the Marshall building…….which has over 20 galleries inside! I wandered in and out of the Timothy Cobb Fine Art Gallery and struck up a conversation with the owner, Tim. I pulled out my leather bound journal to ask Tim questions and jot down answers.
~
As we spoke, both of his NCECA exhibiting artists walked in- a local Milwaukee sculptor Carrie Chimenti and Stephanie Rozene, Associate Professor at Hartwick College, followed by 5 of her students.
~
Then Tim said, “Joel I know a great BBQ place, you’re coming to dinner with us, I’m buying.”
~
Next came beers, whiskey, BBQ, and two hours of deep conversation about the professional art world. The artists were kind enough to buy my meal and drinks and let me give them pottery from my car as a thanks. As Tim left he said, “Keep writing in that journal, people will keep inviting you places.”
~
So how can an emerging artist stand out among the thousands of postcards, world class ceramics and crowds of diehard clay folk? I think the key is not to stand out, but to join the conversation.
~
Pottery Meme, Joel Cherrico Pottery Success Kid

 

Saturday, April 12, 2014

emerging artist: Rachel Donner






"Within me there is a vital want to constantly use my hands. The most appropriate way I have found to do this is through the creation of functional ceramic objects. I strive to make work that is lighthearted in appearance while relatively simple in form and function. Through use of multiple surface decoration techniques, I depict simple patterns and shapes inorder to create intrigue through variation in depth and texture. I aim to create clean surfaces and forms by practicing a mildly meditative style of working in order to maintain handmade sensibility. I find with each object I make and decorate that I am struck by new ideas for design and form, never quite feeling satisfied and always expanding upon my ideas. Creating functional items is something that I find compelling and humbling. With my pots I intend to create a space that someone can momentarily find solace in while using. " - Rachel Donner



www.racheladonner.com

Wednesday, April 9, 2014

residency opportunity: Red Lodge Clay Center


The Short-Term Residency (any time between September 1 - May 31) is ideal for the ceramic artist who is working to complete a special project or studio focus from 2 to 8 weeks' time. Accepted short-term residents are provided with studio space and 24 hour access to the studio. Housing is available for $500.00 per month or a prorated basis congruent with the scheduled residency. Short-term residents will be responsible for personal living expenses, as well as all material and firing expenses. The application deadline is May 1st annually. The Red Lodge Clay Center welcomes applications from ceramic artists who will thrive working as a team, in a community minded atmosphere


Application Deadline: May 1, 2014

Application Fee: $40

The Red Lodge Clay Center welcomes applications from ceramic artists who will thrive working as a team, in a community minded atmosphere.


The ceramics studio is located approximately six miles north of Red Lodge, 463 Two Mile Bridge Road. A form of transportation is necessary for the duration of the residency. Resident artists have 24-hour access to the ceramics studio. For more detailed information on material needs and studio equipment please contact the Red Lodge Clay Center.


Apply Online at Slideroom

406-446-3993

c.r.e.t.a. rome: Artist Residency in Rome, Italy: FALL WINTER 2014


Our summer residencies in Rome are full, but there is still a possibility of a one or two month residency in our studio in the countryside for the months of June, July and August. The successful applicant(s) will have a one-bedroom house and garden plus a private studio. We provide technical assistance and a final show in our studio in Rome.

This option is particularly attractive for those who want to bring their partners/spouse or family. The house is a 5-minute drive from the train station and just 10 minutes from the lake of Bracciano, a popular holiday spot. We have both low and high-fire kilns and this studio allows reduction firing too using gas kilns.


The cost is the same as our Rome residencies. The deadline for applications is 1 May. Preference will be given to applicants interested in longer periods.


Contact us if you would like more info or for application details.
 

Apply now for fall/winter residencies at c.r.e.t.a. rome! Deadline is 15 May 2014.

c.r.e.t.a. rome offers self-funded residencies to ceramicists and visual artists for periods ranging from 6 weeks to 3 months. The residency includes a semi-private equipped studio, private or shared apartments in the historical center of Rome, and technical assistance in procuring materials, firings, etc., advice on museums, galleries and sites in Rome and beyond.

We also have a residency in the countryside near the lake of Bracciano to the north of Rome. The resident is housed in a one-bedroom house with garden and will have a private studio. This option is particularly attractive for ceramicists who work with reduction firing or larger-scale. Collaborative projects are also welcome.

Artists will 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, artists will have access to the wealth of galleries and exhibitions in Rome and beyond. Each resident will have an opportunity to present a proposal to exhibit the work produced during the residency period in a final show.

Further info can be found on our web-site. We accept electronic applications sent to cretarome@gmail.com by 15 May 2014 (15 April for early application).
  • curriculum vitae
  • artist statement (250 words max)
  • project proposal (500 words max)
  • 10 images (jpeg or pdf)
  • image list: year, dimensions, material
  • preferred residency period
13 August-23 September
25 September - 4 November
6 November - 16 December