here

Transcription

here - Ceramic Arts Daily

Cover: Takashi Hinoda’s
“Alternative Muscles”
Spotlight: The Nevica Project,
an online-only gallery
Clay Culture: The permanence
and disposability of ceramics
“ We only use brent®.
They can handle all
the abuse our students
inflict and then some.”
Sigrid K. Zahner
Assistant Professor
Patti and Rusty Rueff School
of Visual and Performing Arts
Purdue University
brentwheels.com
www.ceramicsmonthly.org
october 2011
1
2
october 2011
october 2011
3
m
o
n
t
h
l
y
Editorial
[email protected]
telephone: (614) 794-5867
fax: (614) 891-8960
editor Sherman Hall
associate editor Holly Goring
associate editor Jessica Knapp
editorial assistant Erin Pfeifer
technical editor Dave Finkelnburg
online editor Jennifer Poellot Harnetty
Advertising/Classifieds
[email protected]
telephone: (614) 794-5834
fax: (614) 891-8960
classifi[email protected]
telephone: (614) 794-5843
advertising manager Mona Thiel
advertising services Jan Moloney
Marketing
telephone: (614) 794-5809
marketing manager Steve Hecker
Subscriptions/Circulation
customer service: (800) 342-3594
[email protected]
Orcas Island Pottery has operated, sustainably, in the woods since 1945.
Facing the Canadian Coastal Range and the Salish Sea, artistic inspiration
is close at hand. Levi Vincent and Ryan Lawless work summers here as
production throwers, living a potter’s dream. Levi has been using the Giffin
Grip for many years, Ryan just got started.
^0#5.,#'-5&&5) 55\'5)(5
55#.65(55$/-.5#5.)5.,35#.855
5551-5-)&8_55753(51&--
MFA student, University of Wisconsin
^5/-5&&5-),.-5) 5.))&-5#(5."5-./#)855Ļ#-5.))&5&&)1-5
55'5.)5)5'35$)5'),5Ń#(.&365-)51"35().5/-5#.>_
550#5#((.5755Biochemistry major, Western Washington University
5)/,5ŀ&'5 ./,#(!5
3(650#5;5,-5
-&(5)..,35.5
#Ń(,#*8)'5
Photos by Shayah Fox
4
october 2011
Design/Production
production editor Cyndy Griffith
production assistant Kevin Davison
design Boismier John Design
Editorial and advertising offices
600 Cleveland Ave., Suite 210
Westerville, Ohio 43082
Publisher Charles Spahr
Editorial Advisory Board
Linda Arbuckle; Professor, Ceramics, Univ. of Florida
Scott Bennett; Sculptor, Birmingham, Alabama
Val Cushing; Studio Potter, New York
Dick Lehman; Studio Potter, Indiana
Meira Mathison; Director, Metchosin Art School, Canada
Bernard Pucker; Director, Pucker Gallery, Boston
Phil Rogers; Potter and Author, Wales
Jan Schachter; Potter, California
Mark Shapiro; Worthington, Massachusetts
Susan York; Santa Fe, New Mexico
Ceramics Monthly (ISSN 0009-0328) is published monthly,
except July and August, by Ceramic Publications Company; a
subsidiary of The American Ceramic Society, 600 Cleveland Ave.,
Suite 210, Westerville, Ohio 43082; www.ceramics.org. Periodicals
postage paid at Westerville, Ohio, and additional mailing offices.
Opinions expressed are those of the contributors and do
not necessarily represent those of the editors or The American
Ceramic Society.
The publisher makes no claim as to the food safety of published glaze recipes. Readers should refer to MSDS (material safety
data sheets) for all raw materials, and should take all appropriate
recommended safety measures, according to toxicity ratings.
subscription rates: One year $34.95, two years $59.95.
Canada: One year $40, two years $75. International: One year
$60, two years $99.
back issues: When available, back issues are $7.50 each,
plus $3 shipping/handling; $8 for expedited shipping (UPS
2-day air); and $9 for shipping outside North America. Allow
4–6 weeks for delivery.
change of address: Please give us four weeks advance
notice. Send the magazine address label as well as your new
address to: Ceramics Monthly, Circulation Department, P.O. Box
15699, North Hollywood, CA 91615-5699.
contributors: Writing and photographic guidelines
are available online at www.ceramicsmonthly.org.
indexing: Visit the Ceramics Monthly website at
www.ceramicsmonthly.org to search an index of article titles and
artists’ names. Feature articles are also indexed in the Art Index,
daai (design and applied arts index).
copies: Authorization to photocopy items for internal
or personal use beyond the limits of Sections 107 or 108 of
the U.S. Copyright Law is granted by The American Ceramic
Society, ISSN 0009-0328, provided that the appropriate fee
is paid directly to Copyright Clearance Center, Inc., 222
Rosewood Dr., Danvers, MA 01923, USA; (978) 750-8400;
www.copyright.com. Prior to photocopying items for classroom
use, please contact Copyright Clearance Center, Inc.
This consent does not extend to copying items for general
distribution, or for advertising or promotional purposes, or to
republishing items in whole or in part in any work in any format.
Please direct republication or special copying permission requests
to the Publisher, The Ceramic Publications Company; a subsidiary
of The American Ceramic Society, 600 Cleveland Ave., Suite 210,
Westerville, Ohio 43082, USA.
postmaster: Send address changes to Ceramics Monthly,
P.O. Box 15699, North Hollywood, CA 91615-5699. Form 3579
requested.
Copyright © 2011, The Ceramic Publications Company; a subsidiary
of The American Ceramic Society. All rights reserved.
october 2011
5
contents
October
2011
volume
59,
number 8
editorial
8 From the Editor Sherman Hall
10 letters
techno file
12 mesh Size by John Britt
Parsing the numbers of particle size lets us know more about how our
materials will act in clays and glazes, and those numbers may even open
up some creative options; and creativity is what this is all about.
tips and tools
14 tube handles by Andrea L. K. Hansen
Nope, they’re not handles made into a tube; they’re handles made inside
a tube. And you can see a video of them being made on the digital
edition of this issue.
exposure
16 Images from Current and Upcoming Exhibitions
reviews
52 Archie Bray Foundation 60th Anniversary Exhibitions
Two exhibitions at the Archie Bray Foundation for the Ceramic Arts in
Helena, Montana, “Artists From the Center” and “2011 Artists to the
Edge and Resident Artists Exhibition,” showcase works by residents past
and present. Reviewed by Emily Donahoe
54 teapots: An Invitational
Handmade teapots on display at the Robert T. Wright Community Gallery
of Art at the College of Lake County, Grayslake, Illinois, show that this
form can be utilitarian or expressive, but many artists investigating it find
ways to combine the two. Reviewed by Antoinette Badenhorst
resources
57 2012 Gallery Guide
Find an exhibition venue or collection near you (or one that’s worth
traveling to) in this comprehensive listing of galleries and museums.
133 Call for Entries
Information on submitting work for exhibitions, fairs, and festivals.
134 Classifieds
18
Looking to buy? Looking to sell? Look no further.
135 Index to Advertisers
spotlight
136 the nevica Project
Almost any gallery needs an online presence in order to succeed, but it’s a
different thing entirely to start an online-only gallery.
6
october 2011
clay culture
24 Permanence and Disposability by Erin Pfeifer
Ceramic materials have always made permanent utilitarian wares possible, and that
permanence has been central to the aesthetics of ceramic vessels, but clay is also being
used to comment on issues of impermanence and temporary use.
26 to Brick or to Click
What used to be the online-only exhibition, formerly seen as a second-class show, has
in some ways become the best way to promote the works a gallery has to offer.
28 A PotterÕ s Evolution by Jessica Knapp
Though the images in the book Michael Simon: Evolution, showcase work spanning
one artist’s career, the contributors’ essays and discussions unite the personal with the
universal, allowing the reader to gain insights into Simon’s processes and motivation, as
well as their own.
studio visit
30 lisa orr, Austin, texas
One potter finds ways to diversify her market through different product lines,
resulting in a bit of stability in what can typically be an unpredictable business.
features
34 on the Precipice:
Brad SchwiegerÕ s Constructions 2010 by Eleanor Rae Harper
A recent body of work nurtures a fascination with architecture and its potential
relationships to ceramics and ceramic processes. Using landscape and scale as
visual tools, Schwieger gives us a new perspective on monumental objects
and our relationship to them.
36 takashi hinodaÕ s Alternative muscles by Naomi Tsukamoto
Where anime meets superhero meets clay meets gallery, “friendly”
cartoonish works invite curiosity from viewers, but comment on
information overload.
40 the Ceramic Sprawlscape by Glen R. Brown
Several artists who deal with urban and suburban sprawl as
central concepts in their works do so from vantage points that
fluctuate between fascination and disgust.
46 Return Voyage: harlan house Sets Sail
by Heidi McKenzie
An artist some call a Canadian icon takes issue with the political
and social influence of large multinational corporations.
50 mFA Factor: University of minnesota, twin Cities
A three-year program, three well-respected instructors, and two
graduate student positions open per year result in a wide range
of work and approaches.
34
cover: Takashi Hinoda’s “Alternative Muscles,” exhibition
view, imura art gallery, Kyoto, Japan, 2011. Photo: Kazuo
Fukunaga. Courtesy imura art gallery. See page 36.
october 2011
7
from the editor
respond to [email protected]
I recently went to the Columbus Zoo for the capacity to impact lives and culture on a large I would choose if I were hungry—and if I’m
first time in a long time, and it reminded me scale—mainly because it has impacted my life hungry and you give me a handmade bowl I
that it’s a shame I don’t go to the zoo more and immediate culture on a large scale. But will sell it or trade it for food.
often. Everything was new and different and that’s myopic, I know. It goes back to my
In some ways, we are, as a field, a solution
exciting, from the aquarium to the lions to own direct involvement with clay as a maker, looking for problems. If we can solve probthe bats to the reptiles—even the flamingos and I don’t really share the vantage point of lems, it means we are not simply “the world’s
shed their cloak of kitsch and I was able to an appreciator who may not have experience most fascinating hobby,” as Robert Arneson
appreciate them for the amazing freaks of with the material. And I can’t really expect so aptly observed. But in the search for those
form and function they really are. And all anyone outside of ceramics to value it at the problems, we risk spiralling in on ourselves,
of this was right here, a few
circling around one another
miles from my own backyard,
in a wide gray space between
if I would just pay attention.
zealotry (where no one outside
It occurred to me then that, if
our circle will pay attention to
I pay enough attention, it will
our rants) and complacency
become less amazing, more
(where no one will expect anyfamiliar, better understood,
thing from our little group recomfortable—maybe even
inforcing our own ideas for one
boring (familiarity can breed
another). It’s comfortable here,
boredom you know)—and I
familiar territory, where we can
thought, “What a shame. I’ve
define our own “issues” to adonly just rediscovered this
dress. The trouble (if we want
amazing resource for learning
to have conversations outside
and creative engagement with
of our own clique) is that our
a larger world, and I’ve already
issues are exactly that—ours.
found a way to be disappointed
Ceramics will not cure the
in it.” But then, emblazoned
world of its many ills, but its
on the wall above the window
the hammer I have, so I’ll go
looking into the pachyderm enlooking for nails to pound
Sure, they call them bookshelves, but I think they are really meant for
closure was the following quote
with it. When someone does
pots. After all, pots contain a lot of information, too.
by Baba Dioum, a well-known
not understand or appreciate
Senegalese conservationist and
ceramics, I’ll simply share what
agricultural policy advocate: “In the end, level I wish they would. I mean, if someone I know and what I think, and hope that it
we will conserve only what we love. We has no actual knowledge of the subject and its will expand their understanding just a little.
will love only what we understand. We will potential for teaching and promoting creative Books and magazines are great for that kind
understand only what we are taught.” It’s thinking, then I can’t really get upset when of dissemination of information, but there is
a fairly obvious statement, really, but like a that individual comes back at me with some no substitute for looking at works in real life.
lot of obvious things, I hadn’t really thought trite, condescending little analogy about mud And this is where galleries and museums really
about it in specific terms until I read it in pies or how nice it must be to indulge in such find an important place in our field. These
someone else’s words. It made me think about a “fun” hobby (like saying the animals in the institutions, whose purpose is to educate the
the relationships between teaching, learning, zoo really have a sweet deal). Admittedly, public about ceramics, help to feed and build
and culture—and then, of course, the specific there is some truth to these perceptions, and our next generation. They are our ceramic
interest I have in the teaching, learning, and they’re not necessarily all bad, but you and I zoos, showing people an aspect of the world
know that is not the limit of clay’s potential. they would not otherwise be able to expericulture of ceramics.
There is another quote—or, more ac- Now, before we get too far over the edge, let’s ence. You should pay a visit, starting with the
curately, a roughly paraphrased axiom that admit there are many issues that simply can’t Gallery Guide on page 57.
I can’t seem to source—that goes something be addressed through ceramics; I think most
like, “No one likes special interests—except of us would rather give a hungry person food
their own.” And my own is ceramics; it seems than a handmade bowl, because that’s what he
perfectly normal to me that ceramics has the or she would want, given the choice. It’s what
8
october 2011
october 2011
9
letters
email [email protected]
Getting Something Better
great for the development of up-and-coming
Ceramics Monthly has a responsibility to
artists.
Thanks!
question
content that seems blurry regarding
Dear Mr. Hall: Thank you for your letter
Justin
Crowe,
Hudson,
Ohio.
issues
of
plagiarism.
Similarly, the non-profit
from the editor in the September 2011 issue.
gallery’s
curatorial
responsibility
is to present
I feel stupid all the time in my studio. I envy
Is
This
as
Good
as
It
Gets?
and
promote
work
that
is
truly
new,
cutting
the ceramic artist who has mastered their
I
noticed
in
the
Exposure
section
of
the
May
edge,
and
even
risky.
A
tenured
professor
has
craft to the point that they nail it every time.
2011
issue,
Michael
Schmidt’s
work
was
such a wonderful position and responsibilI work with four different clays, three differincluded
in
an
exhibition
at
Pewabic
Pottery
ity. Our benefits include academic freedom,
ent kilns, four different firing processes, and
entitled,
“Romancing
the
Rustbelt.”
It
retime to produce creative work, salaries,
all the accompanying glazes for each, tinkered
ally
infuriated
me
that
Pewabic
Pottery
and
and health care benefits. This is a vote of
and altered by me. I tend to bounce back and
Ceramics
Monthly
celebrated
Mr.
Schmidt’s
confidence from the academic institution,
forth between them to accommodate what
work.
Dan
Anderson
has
been
making
work
and comes with a responsibility to cut new
I’m trying to say in the resultant artwork, so
there never seems to be enough continuity inspired by water towers, oil cans, oil refinery, ground in the field. Art professors have so
of materials and process to get steady results and industrial architecture for years. He’s also many opportunities to teach new ideas: lecevery time. Though I take copious notes, I been applying decals of oil companies of both tures, demos, workshops, and finally their
never manage to get the results I’m aiming national and international origin to these studio production—the perfect example for
for, except those instances when I’ve used the works. He makes domestic ware that is clad young aspiring students to absorb. It could
materials and firing schedules so much I can with similar decals, as well as more conceptu- be that the workshop mentality where artists
do them in my sleep. The thing is though, ally perilous imagery of various despots on travel to various venues and “perform” their
90% of the time when I don’t wind up with the side of cups. Besides that work, Anderson tricks and secrets is precisely the experience
the result I was aiming for, I wind up with makes functional ware and anagama ware. His that endorses copying a high-profile artist’s
a better one. That keeps me going. My only evolving work has been in the consciousness style and techniques.
So much of what I witness in contempoadvice is, write everything down from begin- of contemporary American ceramics since the
early
1980s,
and
I
am
confident
that
many
rary ceramics is regurgitated and lacks imagining to end, including the weather that day.
would
agree
that
he
pioneered
this
“industrial”
nation. Maybe other disciplines carry similar
Love the magazine.
style
of
vessel
making.
It’s
appropriate
for
me
baggage. Maybe the pressure to succeed and
Lisa G. Westheimer, West Orange, New Jersey
to disclose that I have known Dan Anderson receive accolades is so powerful that the ideas
since 1985 when I was a graduate student at of others executed in a different geographical
Good Results
I just wanted to thank everyone involved Southern Illinois University at Edwardsville’s location, clay body, temperature, or different
with Ceramics Monthly’s “2011 Undergradu- ceramics program, and I have never met or type of kiln, make it okay. For ceramics as a seate Showcase” [September 2011] for select- heard of Michael Schmidt, but I learned he is rious art form to evolve, I believe greater risks
ing me. I have received a ton of feedback a tenured professor at Valdosta State University. need to be taken by the artists, as well as proIn a field as broad and ancient as ceramics, fessors, and those risks need to be exhibited in
through email and Ceramic Arts Daily, and
there
is likely to be overlap, influence, inspira- galleries and critically analyzed. A researcher’s
also a lot of views on my personal website.
tion,
and copying. Does it start with glazes? charge should be to reinvent the medium and
The piece that was featured was even purchased by an art collector who saw it in the “What is that interesting glaze, can you give the aesthetic, and contribute something new.
issue. I think the Undergraduate Showcase me the recipe?” If potter/sculptor X wood Studio regurgitation does nothing to expand
and the Emerging Art- fires/soda fires/uses lusters, and experiences the art or inform the student.
I should apologize for focusing on Mr.
ist features are success, maybe that’s the ticket. Are our collective imaginations really that bankrupt? If Schmidt’s work, for sadly, he is not alone. His
Mr. Schmidt’s pots included in the Pewabic work simply hit a raw nerve that inspired me
exhibition were a moment of science, mean- to finally speak out about something that has
ing a formal paper disseminating scholarly been ignored by the mainstream forums of
research, it could be regarded as plagiarism. contemporary ceramics and that also has been
Merriam Webster defines plagiarism as the boiling near the surface of my consciousness
practice of taking someone else’s work or for quite some time.
ideas, and passing them off as one’s own.
Ron Kovatch, Urbana, Illinois
10
october 2011
VL-Whisper
Phhot
P
o o by
by Kelly
ellllyy McL
cLen
Len
e do
don
VL-Whisper Potter’s Wheel
“My
Shimpo Whisper makes it easy to
demonstrate during my workshops and I can
still easily hear and answer questions from the
audience.
It’s the only wheel I use.
”
Tom Coleman
october 2011
11
techno file
mesh size
by John Britt
Potters often buy whatever selection of materials suppliers provide without thinking about the consequences
or even the potential artistic possibilities. Using the correct particle size and distribution for the job you are
doing requires some basic knowledge of material properties followed by some creative experimenting.
Defining the Terms
Size Matters
Mesh Size—A count of the number of
strands per inch in a screen that is used
to grade the particle size of the material.
Theoretically, in a 100-mesh material
sample, approximately 95% of the particles
should pass through a 100-mesh sieve
(this means that 1–5% of the particles
will remain in the pan). A larger mesh-size
number indicates smaller particles so 100mesh particles are larger than 200-mesh
particles. In ceramics, mesh sizes generally
range from 25 to 325 mesh, smaller
particles are referred to in microns.
Size, on many levels, makes a big difference in both clay bodies and glazes. For example, if
you have a glaze recipe that calls for 30% silica and you used 325-mesh silica, it would create
a smooth and glossy glaze, but if you used silica sand (40 mesh), you would have a rough
and crusty glaze.
Mesh sizing originally referred to the number of threads per linear inch of mesh, which
presumed the same number of holes. Of course, thread size caused variance so uniform
international standards measured in micrometers have been adopted. So a 100-mesh sieve
has 100 square holes per inch which measure 0.152 mm (or 152 microns). Theoretically, in
a 100 mesh sample, 95% of the particles should pass through a 100-mesh sieve. A higher
mesh size number indicates smaller particles so 100-mesh particles are larger than 200-mesh
particles. If you continue to add more and more threads to a screen, eventually you will clog
all the holes. So anything beyond 325–500 mesh is usually described in microns.
Because the sieve hole is a square, the size of the diagonal is larger than the width and length.
Larger particles can make it through the diagonal and that is why you often sieve several times.
Describing a material as 100 mesh is not very precise as you don’t know the size of the
95% of particles that passed through the sieve. A more precise notation has been established
which uses -/+ signs. So a particle that is “-80 /+100“means that 95% of the particles passed
through(-) the 80 mesh sieve but were retained(+) by the 100 mesh sieve. In ceramics, grogs
are often listed more precisely as 12–48, (or -12/+48) which shows the range of particle size.
Today, because our grinding technology is vastly improved, the particle size (expressed
as mesh size) is much different than it was just 50 years ago. For example, 50 years ago
the standard silica for glazes was 200 mesh, which meant that 95% of the particles passed
through a 200-mesh sieve. We do not know exactly how fine 95% of the particles were, we
just know that they passed through the 200-mesh sieve. But now that same 200-mesh silica
is much finer because our grinding ability is so much better. So the 95% of the particles that
passed through the sieve are much finer and that affects the melting of those particles. Using
200-mesh silica now may be closer to using 325 mesh back in the day. Knowing the particle
distribution may help and is generally available from many suppliers. For example, Minspar
200 lists that 87% of particles are finer than 30 microns; 72% are finer than 20 microns;
40% are finer than 10 microns; and 19% smaller than 5 microns. The graph below shows the
variation in particle size of a sample of Minspar 200, ranging from 100 microns to less than
1.0 micron, with the vast majority between 3 and 50 microns.
Sieve—A device with a screen or mesh
bottom used to separate out coarse or
unwanted particles. Most glazes are sieved
twice through an 80 mesh sieve. Can be
done dry or wet.
Minspar 200
PARTICLE SIZE
% RETAINED
20 mesh
0.0
30 mesh
0.0
40 mesh
0.0
100 mesh
trace
140 mesh
trace
170 mesh
0.1
200 mesh
0.3
325 mesh
3.6
30 micron
9.0
20 micron
15.0
10 micron
32.0
5 micron
21.0
< 5 micron
19.0
Typical sieve analysis of a 50 pound bag of
200-mesh Minspar 200 (a soda feldspar mined
by Imerys Minerals in North Carolina). Note that
3.6% of the material passes through the 200mesh screen but is retained by the 325-mesh
screen, so very little of the material is actually
graded at precisely 200 mesh.
12
october 2011
2.5
PhoTo CourTeSy of The hoMer LAughLIN ChINA CoMPANy.
Particle Size—Also called grain size. It is
relevant in terms of how long the particle
will take to dissolve in a glaze melt and
also in terms of plasticity, shrinkage, and
strength of a clay body.
Mass Percent
Micron—A unit of length one-millionth of
a meter or one twenty-five thousandth of
an inch.
2.0
1.5
1.0
0.5
0.0
100.0
10.0
1.0
200 Mesh
170 Mesh
325 Mesh
Particle Diameter (Microns)
Clay Bodies
Although clays are described as 200 mesh, many are actually much
finer than 325 mesh (40 microns). For example, in a 200 mesh
sample of EPK, approximately 55-65% of kaolin particles are less
than 2 microns, while approximately 81% of ball clay particles are
less than 2 microns and many can be as low as 0.1 microns or 400
times smaller than 325 mesh.
Porcelain bodies are often difficult to throw because the particles
(kaolin, feldspar, and silica) in the body are all approximately 200
mesh or less, making it a homogenous clay body. Stoneware bodies,
however, are a mix of various clays and particle sizes. They contain
fire clays, which are 25–50 mesh; ball clays, which are 200 mesh;
and then grogs, which can be 12–80 mesh.
Grog is often added to sculptural bodies to give them strength
and reduce shrinkage. Val Cushing lists a proportion of: 12% fine
grog, 3% medium grog, and 15% coarse grog, for a total of 30%.
This is how you can produce non-shrinking sculptural clay bodies.
In a plastic clay body this proportion of mixed mesh-size grog helps
fill all the voids and avoids micro-cracking around larger particles.
fine Chips
200 M
Medium Chips
120 M
Chunks
80 M
40 M
Melt tests showing various grades of unprocessed feldspars,
fired to cone 10 in reduction.
Grog is often listed by the largest particle size, for example 30 mesh.
This tells you the size of the largest particle but not the smallest. Some
grogs are listed as 30–80 mesh, meaning that the largest particles
are 30 mesh and the smallest are 80 mesh.
Glazes
Melting particles in glazes can be compared to dissolving sugar in tea.
The particle size of the sugar makes a big difference in the amount
of sugar that will dissolve into the tea and thus how sweet it is. For
example, two sugar cubes will not dissolve as easily as the same
weight of crystallized sugar and certainly won’t dissolve as easily as
the same weight of powdered sugar. This is because there is more
surface area per weight in the fine particles and they enter the melt
easier. In glazes, the same principle applies; 325-mesh silica will go
into the melt easier than the same amount of 200-mesh silica.
Mesh size can be related to other properties, like solubility. For
example, nepheline syenite has two grinds available to potters, 270
mesh and 400 mesh. Theoretically the 400 mesh would go into the
glaze melt better than the 270 mesh. But because it is slightly soluble,
using the finer 400 mesh (more surface area) will also cause the glaze
slurry to deflocculate quicker and the glaze will settle out and hard
pan more easily. So there’s a trade off.
The mesh sizes in some materials are kept large to create specific
effects, like granular illmenite or granular rutile. These create
BLEEDINg CAkE
Cone 05
Volcanic Ash . . . . . . . . . . . . . . . . . . . 30 %
Borax . . . . . . . . . . . . . . . . . . . . . . . . 18
EPk kaolin . . . . . . . . . . . . . . . . . . . . 28
Sand . . . . . . . . . . . . . . . . . . . . . . . . . 15
Total
100 %
Add: Yellow Iron Oxide . . . . . . . . . . . 5 %
Red Iron Oxide. . . . . . . . . . . . . . 5 %
Apply thick. To make it look wetter, sprinkle on borax after dipping.
intentional speckles used in glazes like Jackie’s Speckled Lavender.
Other materials, like silicon carbide, are specific sizes to encourage
cratering in glazes. Some sculptural low-fire glazes may specify sand
in the glaze to add texture. In the case of Bleeding Cake, the sand is
used to get a surface that looks like Red Velvet Cake.
Colorants
Mesh size can make a big difference with colorants. For example,
when making a blue celadon, if you use 100-mesh black iron oxide
(an old school way of mixing blue celadon with a coarse grind) you
might get speckling. This can be corrected by ball milling the colorant
in a small amount of the glaze for several hours then adding it to the
whole batch. But by simply changing the colorant to synthetic red
iron oxide (a very fine type of iron at 325 mesh) which goes into the
melt more easily without ball milling, you get no speckling.
Routinely putting glazes through a ball mill (approximately 2 hours)
is also a good way to smooth out a glaze batch by slightly grinding
the particles, but grinding glazes for too long (beyond 4 hours) will
reduce the particle/mesh size too much and cause the glazes to crawl.
The most efficient grinding is when there is just enough material in the
ball mill to fill all the voids and just cover the grinding media. If ball
milled too long, the small particles in the glaze will shrink excessively
JACkIE’S SPECkLED LAVENDER
Cone 05–04
gerstley Borate . . . . . . . . . . . . . . . . 38 %
Lithium Carbonate . . . . . . . . . . . . . 10
Nepheline Syenite . . . . . . . . . . . . . . . 5
EPk kaolin . . . . . . . . . . . . . . . . . . . . . 5
Silica . . . . . . . . . . . . . . . . . . . . . . . . . 42
Total
100 %
Add: Rutile . . . . . . . . . . . . . . . . . . . . . 4
Zircopax . . . . . . . . . . . . . . . . . . . 4
Cobalt Carbonate . . . . . . . . .0.25
granular Ilmenite . . . . . . . . .1.30
%
%
%
%
when they melt and cause crawling. Ball milling is usually done wet
with glazes but can be done dry.
october 2011
13
tiPs and tools
tube handles
by Andrea L. K. Hansen
there are as many ways to make handles for pots as there are people making pots. You can roll them,
pull them, pinch them, mold them, extrude them, but have you ever tried shaking them?
To make this simple clay handle, start by
preparing a clay coil approximately 3/4 of an
inch in diameter and 51/2 inches long. This is
a width and length proportional to the size of
handle I will need for my particular pot. You
will need to adjust your coil accordingly and
will be able to determine this with ease after
practicing the technique a few times.
Make sure that the clay is not sticky. Insert
the coil into one end of an 11-inch cardboard
paper towel tube. The narrower the tube, the
more slender the handle will be. Place your
hands around the circumference of the tube
at the end you inserted the coil, and hold the
tube at an upward 45° angle. Quickly shake
the tube in an up-and-down motion for 8–12
seconds until the clay reaches the opposite
end of the tube. The clay is likely to fly out of
the tube the first time that you try shaking.
After a little practice, you will be able to feel
the clay moving within the tube.
Stop and turn the tube so that you are holding
the opposite end where the has clay moved to.
Repeat, switching sides and shaking the tube
until you see the clay has stretched to about
1
/2 an inch from the ends of the tube. When
switching sides, make sure that the clay is on
the bottom of the tube.
To remove the clay from the tube, hold the
tube almost straight up and gently shake it out
into your hand. It will look like an elongated
madeleine pastry that’s approximately 9½
inches long.
Shape the ends and body as desired and
allow it to set up before applying to the pot.
I put a little bead of clay under the tapered
ends so that the handle dries straight.
1
2
3
4
5
6
Watch this technique in action!
(Recorded by Debbie Reichard
at The Arts Council Of Princeton)
1 roll a /4x5 / 2-inch coil. 2 Insert the coil into the bottom of the tube. 3 Shake the tube, flip, shake
again. 4 remove the shaped handle. 5 The shaped piece is now almost 10 inches in length. 6 Curve
and shape as desired. Photos: Denise Jill Marshall.
3
Send your tip and tool ideas, along with plenty
of images, to [email protected]. If
we use your idea, you’ll receive a complimentary
one-year subscription to CM!
14
october 2011
1
october 2011
15
exposure
for complete calendar listings
see www.ceramicsmonthly.org
1
2
1 Chris Pickett’s Chaise Lounge Tray, 10 in. (25 cm) in length, stoneware, fired to
cone 6. 2 Clay Leonard’s pair of gestural handbuilt cups, 4 in. (10 cm) in height,
porcelain, fired to cone 6. 3 Bill Griffith’s pitcher, 8 in. (20 cm) in height, wood-fired
stoneware. 4 David Bolton’s Pattern Plate Triptych, each plate is 10 in. (25 cm)
in diameter, wood-fired porcelain. 5 Megan Mitchell’s Textile Mug, 3 in. (8 cm) in
height, reduction-fired porcelain. 6 Noah Riedel’s Bot Box, 7 in. (18 cm) in diameter,
stoneware, fired to cone 7. 7 Jenny Hager’s Bloom Bowl, 4 in. (10 cm) in diameter,
earthenware, fired to cone 4. 8 Sarah Chenoweth Davis’ Tall Box, 8 in. (20 cm) in
height, porcelain, reduction fired to cone 10. 9 Wenfen Pan’s teapot, 8 in. (20 cm)
in length, soda-fired B-Mix. “19th Annual Strictly Functional Pottery National,” at
Market House Craft Center (www.strictlyfunctionalpottery.net), in East Petersburg,
Pennsylvania, through November 6.
3
4
16
october 2011
6
5
7
8
9
october 2011
17
exposure
1 Fong Chow’s Gulfstream Blue Artware Candelabra, Glidden Pottery, 9½ in. (24 cm)
in height, stoneware, 1956. 2 Karen Karnes’ Double Vase, 9½ in. (24 cm) in height,
earthenware, 1951. 3 Paul Soldner’s vase, 9 in. (23 cm) in height, wheel-thrown and
altered clay, white slip, iron and copper oxides, clear glaze, raku-fired to cone 08,
post-fire smoked, 1964. 4 Isamu Noguchi’s My Mu (Watashi no mu), 13½ in. (34 cm)
in height, Shigaraki ceramic, 1950. 5 Robert Turner’s jar, 12½ in. (32 cm) in height,
wheel-thrown stoneware, glaze, 1966. 6 Joel Edwards’ lidded vessel, 17 in. (43 cm) in
height, stoneware, 1966. 7 Gertrud and Otto Natzler’s Large Bowl (H331), 18 in. (45 cm)
in diameter, wheel-thrown earthenware, crater glaze, 1956. 8 Henry Tadaki Takemoto’s
First Kumu, 22 in. (55 cm) in height, stoneware, glaze, 1959. 9 Howard Kottler’s
Peacemakers, 10 in. (26 cm) in diameter, porcelain, decals, luster glaze, 1967. “Crafting
Modernism: Midcentury American Art and Design,” at the Museum of Arts and Design
(www.madmuseum.org), in New York, New York, October 11–January 15, 2012.
1
2
3
4
18
october 2011
5
6
7
8
9
october 2011
19
exposure
1
2
1 Edward Baldwin’s interlude, 14 in. (35 cm) in diameter, Audrey Blackman porcelain, 2011. 2 Sun Ae Kim’s vases, 10 in. (25 cm) in height, porcelain.
3 Phoebe Cummings’ detail from residency studio installation at Victoria and Albert Museum, unfired clay, 2010. 1–3 on view at multiple locations as
part of “British Ceramics Biennial 2011” (www.britishceramicsbiennial.com) in Stoke-on-Trent, England, through November 13. 4 Chiho Aono’s A Soft
Border, 23 in. (58 cm) in height, ceramic, 2008. “New Millennium Japanese Ceramics: Rejecting Labels and Embracing Clay,” at Northern Clay Center
(www.northernclaycenter.org), in Minneapolis, Minnesota, through November 6.
3
20
october 2011
4
october 2011
21
exposure
1
2
1 Pavel Janák’s Coffee Service with Ball Handles,
stoneware, 1911. Photo: Gabriel Urbanék. “Czech Cubism
in Everyday Life,” at Grassi Museum für Angewandte
Kunst (www.grassimuseum.de), in Leipzig, Germany,
through October 3. 2 Isamu Shiina’s Crystal, 11½ in. (29
cm) in diameter. “Five by Eight: New Art from Japan,” at
The Clay Studio (www.theclaystudio.org), in Philadelphia,
Pennsylvania, through October 30. 3 Hannah McAndrew’s
Slip Trail Baluster Jug Group, 15 in. (38 cm) in height,
red earthenware, colored slips, honey glaze, fired to
1931°F (1055°C), 2010. Photo: Shannon Tofts. 4 Irina
Okula’s shard pots, 7½ in. (19 cm) in height, white
earthenware, terra sigillata, broken into shards, saggar
fired, then reassembled after firing, 2007. “35th Annual
Philadelphia Museum of Art Craft Show,” at Philadelphia
Museum of Art (www.pmacraftshow.org), in Philadelphia,
Pennsylvania, November 10–13. 5 Harumi Noguchi’s
Warrior Prince Yamato Takeru, 9 in. (23 cm) in height,
clay, white slip. “Kami–The Elemental Spirits of Nature,”
at Ippodo Gallery (www.ippodogallery.com), in New York,
New York, through October 29.
3
4
22
october 2011
5
PRESENTS
Paul Andrew Wandless • Nan Rothwell • Sandi Pierantozzi
Curt Benzle • Paul Lewing • Guy Michael Davis
Angelica Pozo • Erin Furimsky
The NEW Ceramic Arts Daily
Presents Video Series
Learn new techniques or enhance existing
skills in your own studio at your own pace
More titles coming!
c e r a m i c a r t s d a i l y. o r g / b o o k s t o r e
866-672-6993
october 2011
23
clay culture
permanence and
2
2
3
1 We Are Happy To Serve You, a ceramic cup that mimics an iconic paper coffee cup popularized by Greek
coffee vendors in New York City during the 1960s; by ExceptionLab Inc. (www.wearehappytoserveyou.com).
2 Lorena Barrezueta’s porcelain dishes from the “Fresh” line of her Gourmet Collection that mimic disposable aluminium food containers. Photo: Lorena Barrezueta (www.lorenabarrezueta.com). 3 Commercially produced porcelain cup with a silicone lid and sleeve, that mimics modern coffeehouse paper cups.
4 Hot chai tea being poured into kulhars by a chai vendor in India. Photo: Jenny Sue Kostecki-Shaw and
Patrick Shaw (chaipilgrimage.com). 5 Bottle Series, a line of porcelain bottles created as a collaboration
between guest designer Foekje Fleur van Duin and Middle Kingdom Porcelain cofounder Bo Jia; by
Middle Kingdom Porcelain (www.middlekingdomporcelain.com).
The reason we use
ceramics for utilitar1
ian ware is its ability
to withstand use. The
vitrification process provides us with the capacity to turn a soft,
malleable material into a hardened, permanent material capable of
holding up to more than a lifetime of use. Throughout the history
of human civilization, utilitarian ceramics have been employed in all
facets of daily life, and have stood the test of time, whereas objects
made of different materials have not.
During the 19th century, utilitarian ceramic wares were
manufactured on a large scale, made possible by the technological
advancements of the Industrial Revolution. Then the demand for
modern convenience led to the development of more cost-efficient
materials in the 20th century. That which was once ceramic slowly
began to be replaced by moisture-resistant lined paper, polystyrene,
and various plastics—lighter materials that were cheaper, easier, and
quicker to manufacturer.
Prior to the 19th century, low-fired, unglazed, earthenware cups
called kulhars were commonly sold for drinking chai tea by street
24
october 2011
vendors at railway stations in India, but have since been replaced
by more cost-efficient plastic cups. Unlike teacups produced in
other cultures, kulhars are only fired until just barely sintered, and
are actually meant to be disposable. When served, the hot chai is
slightly absorbed by the porous unglazed earthenware, and the flavor
and fragrance of the tea is pleasantly enhanced. Once the beverage
has been consumed, it is customary to toss the cup to the ground
and smash it, leaving the shards to eventually break down into dirt.
While the disposable nature of the kulhar coincides with the demand
of modern convenience, the low manufacturing cost of the plastic
cup has left the humble kulhar in the dirt—in more ways than one.
While the shift from the permanent to the disposable has had
a negative effect on the usage of utilitarian ceramics, it has also
inspired. Playing off the concept of mass-produced disposability
and the technique of trompe l’oeil (deceive the eye), contemporary
ceramic artists are deliberately creating ceramic objects and wares that
appear to be made of disposable materials. Often satirical in nature,
and perhaps serving as a critique of our consumeristic reliance on
disposable products, artists slip-cast their renditions of plastic water
cups, milk cartons, detergent bottles, take-out containers, Styrofoam
disposability
4
by Erin Pfeifer
plates, and coffee cups. Perhaps this began as an attempt to
reclaim, at least in a metaphorical sense, the position ceramics once held as the material of choice for these wares.
Commercial manufacturers have also picked up on
this idea, and have begun producing ceramic wares that
mimic their disposable counterparts. For example, “I Am
Not A Paper Cup,” a porcelain cup with a silicone lid
and sleeve, mirrors the exact size, shape, and color of coffeehouse paper cups. Likely driven more by the consumer
demand for greener products, industrially-manufactured
ceramic wares that appear disposable may perhaps be more
of a gimmick, but also bring the idea of permanence and
disposability full circle.
Modern usage of utilitarian ceramic ware suggests that
ceramics cannot be exclusively defined as permanent, but
rather as an enduring material capable of outlasting our
demands of use. Fired clay has the ability to last lifetimes,
but also can be broken down and returned to the ground
from which it came, as well as be “disposed of ” in our
individual and cultural minds. While the future may hold
a more technologically-advanced material, there will never
be a replacement for good old fashioned clay.
5
october 2011
25
clay culture
to brick or to click?
the answer to this question has been Ò bothÓ for some time, but increasingly, the push from consumers to
be able to buy everything they can think of online is allowing the online Ò wingÓ of galleries to be successful.
I’ve been seeing announcements and calls for entry for online
exhibitions come across my desk for years now, and I have
to say that, with a few exceptions, they used to be largely
dismissable. At best, they seemed to be a convenient way for
a group of people (usually younger and/or new to showing
their work) to have their work seen. I always looked at this
as little more than a clever way to get exposure and perhaps
as a stepping stone to a “real” exhibition—and they didn’t
do much in the way of presentation to alter that assumption.
But we all live in the digital realm to some extent now,
and we have all but required those institutions we relied
on to save us from sifting through so much digital chaff to
present their goods to us in this format. I still believe that
brick supports click in that it tells a potential buyer that
the gallery presenting the work has financial skin in the
game (physical property, bills, staff ), and therefore trust in
the work that can be passed to the buyer, but social media
has made the development of that trust more immediately
possible online. And I think that trust is what makes online
sales of ceramics (or anything) possible.
Here, for your consideration, are the perspectives of two
galleries with experience in both the physical and virtual
environments. —Sherman Hall, Editor
The Clay Studio
Naomi Cleary
We present 22–30 exhibitions in our physical location
per year, and several of these are also online, with
either a shopping cart feature or a phone number to
call. We also have 12 online-only exhibitions per year.
Generally, for larger and more expensive sculptures, we
want some personal contact with the client to discuss
installation and shipping arrangements before they
complete a sale online, but with all pottery and smaller
sculptures we can use the shopping cart feature so the
customer can buy it any time they want.
The online exhibitions definitely get the most
traffic, but we also find that a lot of people view our
website and then visit the gallery. I definitely see a
cause and effect between Facebook posts and traffic to
our website. We get a lot of visitors to our brick and
mortar store as well, partly because Philadelphia is a
tourist town, and partly because we are well known
in the clay community.
Core to The Clay Studio’s mission is the education and promotion of the ceramic arts. We find that
our website and all social media
The Clay Studio’s “Locally Grown” exhibition is presented in their physical shop
give us a broader reach to fulfill
(below) as well as online (right), and the two “venues” support one another.
our mission and is a great way to
highlight the most artists possible
(as we have limited physical space).
We recently started doing
handmade wedding registries,
which have been a huge success.
We make special registry pages
for couples in our online shop,
then work can be purchased and
shipped from there. With the new
website, we will be able to let the
customer make their own registry
simply by logging in and selecting
items. If the client wants specialty
items, we will then step in and
work with the artist to produce
these. We are doing more and
more commissions because people
have access to more and more images through our online shop. The
more work we can sell, the greater
chance our artists have of being
able to remain in their studios.
26
october 2011
Charlie Cummings Gallery
Charlie Cummings
From 2001 until 2008 I hosted eight physical exhibitions per year in my Fort Wayne, Indiana, gallery. I
began posting images of all the work in my exhibitions
online in 2002. At that time, all of my Internet-based
sales were by phone. By 2005, 65% of sales were to
customers who saw the work online. At the time, I did
not have a shopping cart on my website, so it was easy
to check if the work was still available before making a
sale. While the physical gallery was still open, I found
the website consistently brought more sales than visitors
to the gallery. I had a couple thousand visitors to the
physical gallery on a good month, but the website got
up to 15,000 visits a month.
I cut back to 4–6 online-only exhibitions a year
during graduate school. Last year, the gallery hosted
two benefit auctions, and I expect to host 6–10 online
shows this year.
An exhibition presented online has the potential to
reach any person who is interested in ceramics and uses
the Internet. Besides the obvious potential for sales,
the artists in the exhibitions benefit from exposure on
a website that has a lot of traffic. Even though we live
in an age where every artist can market directly online,
being represented by a well respected gallery that sells
through the web can help build name recognition and
lead to other opportunities. I keep a close eye on who
other galleries are representing, as I am sure they do
as well.
In 2006, I began sending email exhibition announcements instead of postcards. The switch saved my business
over $10,000 a year. I did not see
any increase or decrease in sales.
Over the past couple of years
I have seen a dramatic increase in
the number of emails sent by galleries and art organizations. I get so
many that I don’t have time to closely
read most of them. If others are as overwhelmed as me by the number of emails
they get, I am concerned that my announcements are getting lost in the inbox.
Social media, namely Facebook, has become a great tool for announcing exhibitions.
The caveat is that my Facebook friends have to
like the exhibition enough to ‘Like’ it, or repost my
announcement to their wall for their friends to see.
The benefit auctions I held last year went viral in this
way. It is hard to predict—and harder to control—how
information will spread through social media.
A few artists I used to represent now primarily sell
their work through Etsy; others sell at galleries that
compete in the same online market as my gallery.
I see the plethora of online exhibition and sales
opportunities as a great thing for everyone in the
ceramics community. We can reach and educate
many more people through the web than through
location-based exhibitions. I hope easy access
to all the beautiful ceramics being made today
will eventually lead to a greater appreciation of
ceramics in popular culture.
Right: In addition to having several online-only exhibitions per year, Charlie Cummings Gallery does what the
Internet is very good at doing, which is to promote and sell artists’ work outside of exhibitions through the use
of artist pages, where work is always available for sale.
Below: Two views of exhibitions from Cummings’ previous gallery space in Fort Wayne, Indiana.
october 2011
27
clay culture
a potterÕ s evolution
by Jessica Knapp
Michael Simon has saved one piece from every kiln load since the mid 1980s. Whether the best piece
or one that signaled a change or leap in thinking, these pots help him track the development of his
work and his thinking.
“It has often been said that potters are the best
judges of pots, and if this is so, the reason may well
be that the potter views the pot not as a meaningless lump of clay that has been transformed by a
unique identity, a purely original expression, but
rather as a careful reconciliation of the universal
and the personal.” —Glen R. Brown (from Michael Simon: Evolution, p. 104.)
he was not disappointed that the form had
been made already, he was intrigued. Rather
than feeling defeated, he reasoned that utility
was what had led two potters from different
times and cultures to make a similar form. The
need to serve a specific purpose suggested the
form to both.
Mark Pharis speaks about the concept of
emerging consciousness, and the way that it
Many of these pots Simon has saved over the
applies to a deepening of understanding about
years are included in the new book about his
what someone has taught us. We might undercareer, Michael Simon: Evolution, edited by
stand very little of our teachers’ words at first,
Susan Stokes Roberts, which also accompanied
but if we reflect on them later, let them resonate
an exhibition titled “Michael Simon: A Life in
with us for years, we start to understand more
Pots,” at the Northern Clay Center in Minneof what they were showing us, we continue to
apolis, Minnesota. The presence of mind and
learn, and our understanding is expanded. It
discipline this act of methodically saving his
also applies to the way Simon uses the pots he
best work demonstrates, as well as the clarity
saves as tools for remembering and for building
it has helped Simon to achieve, are evident
on past experiences. He can look at these works
throughout the book.
many times and take away something new as
The theme of evolution is apparent in the
his understanding deepens. The pots teach him
essays and other texts by contributors Glen R.
slowly over time. In the section of the book
Brown, Emily Galusha, Warren MacKenzie,
containing Simon’s analysis of the work shown
Mark Pharis, Susan Stokes Roberts, Mark
in the plates, he explains the thinking behind
Shapiro, and Michael Simon. The writings
the lidded container shown at left. “Early on
also coalesce around the importance in linking
in my investigation of the relationship of lid to
the personal with the universal, the individual
pot, I began to see that I could use the edge of
experience with the larger picture. While bithe lid as a positive tool. This remains one of
ographies are always interesting for the details
the best pots from my kiln. The firing produced
about an artist’s life that are revealed and exan old and timeless surface. The thickened lid
Michael
Simon’s
jar
with
lid,
6
in.
(15
cm)
in
height,
plained, this book offers readers more than a
edge joins with the mass of the wall and gets
salt glazed, 1983. Photo: Walker Montgomery.
glimpse into Simon’s life, it demonstrates the
along with the horizontal ribs.”
clarity and precise analysis borne of careful and
Although the above is Simon’s description
close observation that he applies to his work
of a successful pot, the book also contains his
and studio practice. The book is not a how-to in the traditional sense,
criticisms of pieces that don’t work, of missed proportions, of parts
but in showing Simon’s logic, it gives other artists a template for both
that don’t harmonize, or surfaces that don’t integrate with the form.
marking and making progress with their own work.
Through the range of pots shown over the span of Simon’s career
The texts examine the play between the traditions we inherit
so far, you can see how the daily routine he kept himself to, and the
and the individual work each of us wish to make. The conversation
careful looking and observing he did when making and unloading
weaves through several texts, encompassing Simon’s struggle to find
pots from the kiln, led to advances, evolution, to building on little
direction, to know what to make when in the studio (something we
epiphanies, to development, and progress in a personal voice.
can all identify with), and the solutions he found to this dilemma,
which included sketching, researching, and developing a routine for
Images from Michael Simon: Evolution edited by Susan Stokes
going to the studio and starting each session of making work. When
Roberts. Copyright 2011 by Michael Simon. Distributed for the
he discovered that the squared-off lidded containers he had been
Northern Clay Center by the University of North Carolina Press,
making looked related to Persian pots from the ninth century BCE,
www.uncpress.unc.edu.
28
october 2011
Visit us at ceramic arts dail y.org
Showcasing the work of leading ceramic artists
Your resource for ceramic techniques
A membership community of potters and artists
ceramic arts dail y.org
Bringing it all together for the ceramics community
Join today to receive your FREE newsletter featuring weekly videos,
post your work, submit listings and much more.
Ceramic Publications Company | 600 N. Cleveland Ave. | Suite 210 | Westerville, OH 43082 | p 866.721.3322
october 2011
29
studio visit
lisa orr
Austin, texas
After sprigging and slip
trailing to create texture,
Orr allows the pieces to
dry and applies a wash
of clay similar to terra
sigillata (opposite page)
in order to accentuate
the texture on her pots.
Just the Facts
Clay
earthenware
Primary forming method
throwing in bisque molds
Favorite surface treatment
sprigging
Primary firing temperature
cone 01 and 04 electric
Favorite tool
Giffin Grip for holding molds
to wheelhead
30
october 2011
Studio
My family and I live in an older, urban area of Austin, Texas, that is in a great location for
walking and bicycling to many destinations and events offered in the city. We added the
pottery studio to the house attached by a breezeway. Because it was designed as my pottery
studio, it has several great aspects, such as a kiln room separated from the production part of
the studio by pocket doors so kiln heat stays out of the studio in the summer or can be used
to heat the studio in the winter. Also, it overlooks the backyard play area so I can keep an eye
on children and hens, and it has floor drains for hosing it out. The trade off for this urban
location has been that there is a limited amount of working and storage space. Larger-scale
projects usually wind up outside on the breezeway and I have to stow one project before starting another. Building and firing a small low-fire wood kiln is out of the question in this area.
Though there are advantages to not having the studio in the house (I really think it can
be a great idea to be off of work when away from the studio), it is such a pleasure to just
drop by the studio. Being able to quickly check on kilns, drying pots, etc., is an advantage.
Perhaps my favorite aspect about my studio, aside from location and utility, is a pottery shelf
all around the top of the studio containing my collection of antique and interesting pieces
that inspire me.
Paying Dues (and Bills)
I was first introduced to ceramics at the University of Texas, Austin,
while in art school, where I earned a BFA in 1983. Upon graduation,
I worked for other potters, learning how they made a living. At the
same time, I set up a garage workshop and began doing craft fairs.
Later, I rented a small studio and store in a busy location in downtown San Antonio. Hungry for information on how to become a
better potter and artist, I took ceramics workshops at the Southwest
School of Art and Craft. After seven years, I realized I needed a
teacher for a longer period of time than a workshop offered, so I took
continuing education classes at University of Colorado, Boulder, and
at the University of Minnesota, Minneapolis. I later earned an MFA
from the New York State College of Ceramics at Alfred University in
1992. The next year was spent studying village ceramics in Bulgaria
and Macedonia on a Fulbright. After that, I came back to Texas and
re-established my business by opening another studio and store and
by doing wholesale and retail shows. Almost all my waking hours
had me working at the business in some way, definitely more than
40 hours per week in the studio.
After getting married and having children, actual studio time
is far less because family demands are great. I get about 15 hours
per week actually making work, and the rest is spent on computer
tasks, teaching lessons, workshop travel, film projects, or working
on a public art mural.
Body
As a human pug mill for another potter, I developed carpal tunnel
syndrome and had discomfort in my wrists for years while sleeping,
driving, and of course throwing. Even when I lived in Europe for
a year studying pottery but not making any, the problem did not
abate. Acupuncture gave a 95% recovery from the problem, but
throwing always exacerbated it. Ram pressing plates and bowls eased
the pressure somewhat. Finally, a massage therapist who was a hand
october 2011
31
1 Oyster plate, 12 in. (30 cm) in
diameter, earthenware with slips,
sprigs, and polychrome glazes,
fired to cone 01 and cone 04.
2 Bathing Cap Vase, 13 in. (33 cm)
in height, earthenware with slips,
sprigs, and polychrome glazes,
fired to cone 01 and cone 04.
3 Orr’s line of house numbers
are sold primarily through catalog
companies, and they provide a base
level of stable income. She employs
studio assistants to produce them
to her specifications and standards
so she can spend precious studio
time on her larger work.
1
Mind
specialist suggested that often the carpal tunnel problem originated
in muscles that tighten under the arm, squeezing nerves going to the
hand. Massage helped, but it still flares from time to time. I take two
probiotic supplements (Saccromyces Boullardi and Ness 416) that
keep my hands from becoming arthritic. Also, X-rays show my spine
angling to the right from leaning while throwing. Clockwise throwing might also help, because one leans to the left usually. Instead, I
have taken up hot yoga, which is bringing back flexibility, symmetry,
and better posture. I think of it as an insurance plan so I can keep
working and living comfortably as I age. My organic garden helps
us avoid pesticides and GMO produce.
Because my spouse works creatively in high tech and changes his
employment from time to time, I teach pottery lessons at a private
school for the availability of health insurance as a backup in case my
husband’s job or insurance coverage for the family changes. When I
was single, I bought high-deductible insurance and negotiated fees
or traded art for doctor visits. As a parent responsible for the wellbeing of children, I feel trapped by health insurance companies into
buying (or having a job that buys) their exorbitant coverage or risk
being bankrupted by a health crisis.
32
october 2011
Attending the NCECA (National Council on Education for the
Ceramic Arts) conference recharges me because I get to see so
many friends and new works there. It is the same with workshop
teaching; I really enjoy the intense little community that develops.
In addition to subscribing to CM, I maintain subscriptions to several ceramics periodicals. The history of ceramics has always been
a passion of mine and I love to read show catalogs and research
monographs. Museums that house historic ceramics and glass are
exciting to visit.
Marketing
My husband built a beautiful website for me in about 1997 for
selling individual pieces. It actually was a bit too early. Not many
people trusted online shopping, and most of my customers did not
know how to make online purchases. Also, the process for uploading
scanned prints of my pieces was arduous and cumbersome. It was
not worth all the time it took to deal with it. Driving traffic to it
was hard. Many people have this all figured out now, and it gives me
hope for creating a website that is informative and as easy to change
content as it is to email.
2
I have chosen to diversify my income in case one source should
falter. Currently, I have six income streams—pottery sales, DVD
sales, teaching workshops, teaching ceramics lessons, a public art
mural, and selling house numbers in several catalogs. I make less
than half the pots I used to before I had children, but I am supplementing my income in other ways. I make the most of the hours I
do get, but I have more ideas than I can get to.
It is great having the house numbers, which I designed and
have made by assistants. Starting this was accidental, as I made
some temporary numbers for our house when we moved in. After
making numerous sets for friends, I began to wonder if it could be
a business, and presented them at some wholesale gift shows. They
are now carried in garden boutiques, gift shops, and several catalogs.
Some years they outsell my pottery. This type of base income allows
me to spend more time with family.
Because I am very invested in promoting studio pottery as
artistically significant and meaningful, I cofounded the Art of the
Pot studio tour (now in its eighth year) with five other potters. We
invite nationally known potters to come show with us in our studios. We highlight the event with lectures, a cookbook, additional
3
shows, and slow-food events. This project is very gratifying and I
hope it will add to future income as awareness and appreciation in
our region expands.
I feel that part of my work is to be a steadfast advocate for the art
of studio pottery. Now, in the days of the blogosphere, I think many
artists my age know it would be advisable to publish and promote all
of our projects more often—just need to find the time. I do think
the Internet has recently become the best place to be an advocate
for studio pottery because everyone searches there for information
about everything. My one objection is that there can be a huge
perception difference between virtual pieces and those experienced
in person. Of course, the big potential for gain is the exponentially
larger dialog you can have online. As much as I enjoy all the virtual
ceramics world has to offer, as an artist I am still most motivated by
the idea of making little changes in pottery forms that can barely
be seen, mostly felt when in the hand, and by bringing garden color
not to a screen, but to a table.
www.lisaorr.com
www.artofthepot.com
october 2011
33
On the
PreciPice
Brad Schwieger’s Constructions: 2010
by ELEanor raE HarpEr
This page: Untitled, 18 in. (46 cm), wheelthrown and press-molded stoneware,
nichrome wire, reduction fired, 2010.
Opposite page: Untitled, 19 in. (48 cm),
wheel-thrown and press-molded stoneware,
nichrome wire, reduction fired, 2010.
34
october 2011
Ceramic artist Brad Schwieger’s most recent body of work, Construction Series: 2010, arrives at an examination of ceramic structure and
the monumentality of forms in the natural world. Impressed by the
landscapes of Southern Utah, Arizona, and Alaska, Schwieger’s work
has evolved to include the natural world within his architecturally
bound sculptures. Utilizing altered, thrown forms, and a range of
slab-built structures, in this series, Schwieger introduces viewers
to a conversation about how the limits of function give way to a
relationship of forms that can be seen in the natural world.
For the past ten years, Schwieger has been fascinated by architecture and its potential relationships to ceramics and ceramic
processes. Attracted to a variety of forms, from the weighty strength
of medieval churches, to the ethereal complexity of Antoni Gaudi,
Schwieger has recognized the similarities shared by both architecture
and ceramics. “I find an interesting parallel between architecture and
pottery,” he states, “Like architecture, pottery deals with elements
of form and structure, interior and exterior, utility and containment, surface detail and adornment.” Exploring these observations,
Schwieger’s work absorbed explicit characteristics of skyscrapers
and cityscapes, while also more subtly questioning the form and
structure of objects. He refers to his sculptures as “constructions,”
allowing the viewer to formulate the identity of the unknown
cityscapes. Also a celebrated potter, traditional ceramic forms such as
teapots, mugs, and vases have been at the root of form in Schwieger’s
work. Merging his interest in functional, handmade pottery with
commercially made structures, Schwieger’s constructions bridged a
tenuous space between the sculptural and the utilitarian.
Continually interested in form, Schwieger recently observed
what he calls the “architecture of the natural world.” Rather than
focusing on the impressive engineering and technology evident in
man-made architecture, in Construction Series: 2010, Schwieger
instead turned to the sublime, naturally occurring forms such as
the Arizonian canyon lands, and ice formations in Alaska. He was
particularly impressed by the work of photographer Camille Seaman, whose memorable photographs document ice forms in locations such as Greenland, the Antarctic Peninsula, and Cape Bird,
Antarctica. Working from these photographs and extensive sketches,
Schwieger translates the photographic profiles into thrown objects.
Working subtractively, Schwieger throws thick, large cylinders that
he deeply facets. While the outcome of Schwieger’s sculptures may
not readily reveal the process of their making, he continues to throw
the majority of his forms. By using the potter’s wheel, Schwieger
perpetually explores the possibilities for innovation in throwing.
An untitled work eerily recalls the ominous sublimity of floating
icebergs while also referencing man-made architecture through its
tightly controlled form and smooth surface. Consistent throughout
Schwieger’s work is the emphasis on the physical structure of objects. Be they architectural, natural, or ceramic, he looks to where
common ground exists within these three groups.
Schwieger is creating work that only subtly nods to his roots as a
potter. Moreover, this series features Schwieger’s first fully enclosed
forms. Schwieger’s forms seem to oscillate between the functional
shapes that they resemble and their potential for physical function.
His works meditate upon the duality of utilitarian containment
and the sculptural occupation of space. Intent upon translating
the natural weathering and evolution of natural forms, the works
highlight Schwieger’s gestural manipulations of the clay. Schwieger
sees a parallel between the predictability of weathering and the
natural decay of the landscape to that of handbuilding and one’s
gestural manipulations of clay; both processes alter the physicality
of the forms in similar ways.
While Schwieger’s visual resources are forms such as towering
icebergs and weathered rock formations, his finished works are
completed and displayed on a much smaller scale: a translation both
challenging for Schwieger, in terms of scaling down such magnitude,
and central to the work. Typically exhibited on pedestals, Schwieger
manipulates the scale of his objects to encourage a specific physical
relationship between the viewer and the work. Such a relationship of
scale allows the viewer a three-dimensional perspective that would
otherwise never be afforded to them. Schwieger hopes “that it implies the monumental and at the same time considers the micro.”
Schwieger conceives of the work as having a frontal and rear view,
and purposefully composes a passageway within the piece to draw
the viewer’s eye throughout the arrangement of forms. He hopes to
incite the viewer’s curiosity for what may lay beyond their vantage
point. Furthering the richness of their experience with each work,
Schwieger composes each sculpture on its own platform, creating a
proportional, placid “landscape” that serves not only as a physical
base for the work, but also as a conceptual stage for its viewing.
Through his translation of landforms in clay, Schwieger hopes
to present his viewers with a renewed perspective on monumental
objects and our relationship with them.
the author Eleanor Rae Harper is a Minnesota native and a graduate of
Ohio University in Athens, Ohio with a Master’s degree in Art History.
She currently teaches at La Roche College in Pittsburgh, Pennsylvania.
october 2011
35
36
october 2011
Takashi HinodaÕ s
Alternative
Muscles
by naomi Tsukamoto
“Ever since life began on this planet, it continued to metamorphose, parallel with the surrounding environment. However the
system of the environment collapsed as human beings started to
dominate over it and altered its nature. . . . It seems to me that
the bone, skin, and muscle of our bodies can’t follow this rapid
change.”—Takashi Hinoda
“Allegory Transformed” at imura art gallery, Kyoto, Japan, 2009.
Photo: Kazuo Fukunaga. Courtesy of imura art gallery.
october 2011
37
Left: Wound Fever(Chile), 20 in.
(52 cm) in height, ceramic, 2010.
Photo: Kazuo Fukunaga. Courtesy
of artist and Galleria Finarte.
Right: Alternative Muscles, 3 ft.
11 in. (1.2 m) in height, ceramic,
2011. Photo: Kazuo Fukunaga.
Courtesy of imura art gallery.
Takashi Hinoda creates figurative works using anime-like graphics, characters inspired by American comics from the 1950s, and
Japanese manga and animation from the 1970s. Hinoda explores
two-dimensional imagery, which he refers to as concepts and information, placed on a three-dimensional plane in order to express
the world where both the real and virtual intersect and coexist. He
calls this world the “2.5D.”
Today’s Japan, similar to the rest of the world, is flooded by vast
amounts of disposable information with no hierarchy, and people
often understand the world only through concepts, without actual
physical experience. As a result, Hinoda sees a lack of connection
between the body and the mind, and a breakdown in connections
between individuals as intangible information overtakes experience. “I am trying to express what is immaterial or insubstantial,”
he explains, continuing on to define the immaterial as a visual
picture with no substantial weight. It is like the dream world; in
your mind you can feel the form, and see the color, but in reality,
there is no substance.
Just as the world he observes is increasingly involved with information that is not prioritized in any way, and therefore harder
to accurately value and decipher, the images on the surfaces of his
work, which at first glance appear narrative, are fragmented and
have no contexts. Hinoda explains his imagery as the collection of
the miscellaneous. The expansiveness of the information available in
the digital age is echoed in the evolution of his work. Over the years,
two-dimensional lines that were contained on his three-dimensional
surfaces first increased in number and more recently have begun to
38
october 2011
marks. The coloring of the forms takes
the longest amount of time as he masks
lines and space in order to separate all
the colors. He hardly sketches and the
imagery develops as the forms appear.
There are mainly four kinds of surface treatments he uses: the colored slips
are the dried shaved clay powder from
his sculptures mixed with colorants; the
same dry power with lime to add gloss
to the colored slips; underglazes; and
glazes applied under colored slips to add
texture to the surface. He once-fires his
forms to 2246°F (1230°C), and if the
colors do not come out, he repeats the
coloring and firing processes until he is
satisfied with the result.
(Mis)Communication
Hinoda describes exhibitions as having
a life, as transitory, and as an experi“Wound Fever” at Galleria Finarte, Aichi, Japan, 2010. Photo: Sakae Fukuoka. Courtesy of artist and
ment in transforming the space, using
Galleria Finarte.
it as a three-dimensional canvas. The
concepts of transitory and temporal
spread out to the space in the surrounding white cube of the gallery,
seem congruent with Japanese subculture and pop culture from
as if the images keep proliferating and cannot be contained.
which he draws his imagery. Exhibitions create conditions, and
Hinoda’s challenge is to control the given conditions as far as pos(Dis)Connecting Material and Concept
sible. He feels driven to constantly search for ways to come closer
While the connection between representational images and intangible
to his audience.
concepts can be made relatively easily, there is also an opposing force
He explains the development of his artworks over the years
that is constantly working in Hinoda’s artworks. This begins with his
from the simple and vague to fragmented but stronger images
material choice. Clay as a material is, after firing, almost permanent.
and lines as the process of figuring out how much information
It is a material with a strong physical presence, not often thought of as
and source material he should provide in order to connect with
insubstantial. Hinoda explains his material choice as both intentional
the larger audience. Hinoda also describes the strength that lies in
and by chance, “My stance toward ceramics is accepting the challenge
powerful characters. In Japan, you see round and cute characters
to express what is insubstantial using a substantial material.” Even at
everywhere that take on a child-like form and size. He sees this as
the beginning of his experience with clay, having chosen ceramics as
a strategy for intimacy and friendliness and applies it to the shape
his major in college, he realized he expressed himself better in threeand scale of his form and size. As he has co-opted this stylization,
dimensional forms, but wanted to explore two-dimensional imagery.
Hinoda is very much aware of the fact that his audience finds his
Because of Hinoda’s upbringing—growing up in Kobe, a port
works friendly, even though he says he is actually expressing decity without traditional values or a particular type of ceramic work
spair. The style is a hook, drawing people in. Hinoda explains his
associated with it—the traditions that the clay as a material carries in
creative activities as posing questions rather than giving answers
Japan weighed heavily on him. He explains that ceramics as a medium
in order to connect. Thus, there is room for different, and even
easily traps artists to its material tastes, whether it is the glaze, the visual
opposing, interpretations.
texture, or the tactile qualities. “I keep the process and the materials
Hinoda’s figurative works perhaps represent many Japanese
as simple as possible to focus on the results because the process is
young people today, introverted and alone, overwhelmed by virtual
merely a tool,” he states. But, aware of the way that both traditions
information, trying to find ways to connect with others.
and ceramic objects inform and influence our view of history, he also
Takashi Hinoda will be part of the group exhibition “New Milexplains that, “I have an awareness and trust in this material as an
lennium Japanese Ceramics: Rejecting Labels & Embracing Clay,”
artist, that the work will remain even if it loses its context over time.”
guest curated by Daniel Harris Rosen, through November 6, 2011 at
Northern Clay Center in Minneapolis, Minnesota.
Building Form, Developing Imagery
The forms are coil built, and after they are completely dry, he trims
and shaves the surfaces a great deal in order to erase all the hand
the author Naomi Tsukamoto is an instructor at Takara Clay Studio
(www.takaranokama.com), and lives and works in Fujisawa, Japan.
october 2011
39
40
october 2011
The host of sprawling municipalities that we know collectively as
American suburbia has swept across prairies, surged over wooded
hillsides, plunged into meadows, inundated farmlands, and even
forced its way unflaggingly into the driest regions of the desert.
That such an inefficient style of residential development could so
rapidly have eclipsed both rural and urban modes of habitation to
form the primary backdrop of American life suggests the agency
of influences beyond the Arcadian attractions of manicured lawns,
quiet cul-de-sacs, and rhythmic rows of single-family homes.
Material factors such as abundant and relatively inexpensive land,
low-interest FHA loans and governmentally subsidized infrastructure, most importantly highways, clearly stimulated 20th-century
suburban growth. Also at play were complex political and economic
factors encouraging long-term consumption.
Ultimately, however, the most irresistible impetus to the rise of
suburbia may have been something far less tangible. In a nation
born from the restlessness of immigrants and the limitless enterprise of pioneers, the post–WWII escape to the suburbs from the
congestion, cacophony, and contamination of aging urban centers
was atavistic: a revival of a deeply ensconced American convention
of pursuing prosperity beyond the horizon. For millions of middleclass Americans in the latter half of the 20th century, the trek to
the suburbs represented ascent to the good life. In its ideal form,
suburbia was a place in which a profound sense of satisfaction issued from ownership of property, familial harmony flourished in
the security and stability of private domestic space, and personal
sovereignty over a small plot of land reified the individual liberty
inherent in the American dream.
While that dream is still alive in suburbia today, it is no longer
untroubled. For reasons ranging from concern over the debilitating
effects of mass exodus on the cultural life of cities to fears of intellectual stultification in a saccharine hell of cookie-cutter homes,
the American suburban ideal inspired no shortage of 20th-century
detractors, particularly among literary figures and visual artists.
John Cheever’s short stories exposed pockets of dry rot beneath
the cladding of suburban respectability, folk singer Pete Seeger
crooned about “ticky-tacky” rows of “little boxes” and David Hockney raised swimming pools and lawn sprinklers into monuments
of modern hedonism. In the early years of the new millennium,
however, artists have tended to focus their visual commentary less
on the social or psychological ramifications of suburbia than on
its consequences for issues such as energy consumption, destruction of wildlife habitat, ravaging of farmlands, contamination of
water supplies and release of carbon dioxide into the atmosphere.
A New Era—A New Genre
Among ceramic artists, reflection on the troubling environmental
consequences of suburbia has inspired what could—given its ap-
Above: Gail Heidel’s Converge, 20 ft. (6 m) in length, 912 modular ceramic
bricks, installed at the Main Line Art Center, Haverford, Pennsylvania, 2010.
Left: David East’s offset ranch.cycle, 23 in. (58 cm) in length, pressmolded and assembled ceramic, glaze, 2005.
october 2011
41
centralized format of Western painting was cast off in favor of the
“all-over” composition with no obvious focus or boundaries. The
suburb and the drip painting, each oblivious to restraint, may be
the most appropriate emblems of American prosperity at its peak
in the 20th century.
David East’s ceramic sprawlscape offset ranch.cycle makes concise
commentary on the legacy of that prosperity and the attendant
failure to consider conservation of land resources in the rush—on
the part of speculators and real-estate developers, and with the full
compliance of the frenzied house-hunting American public—to
wed consumerism to the requisites of hearth and home. In the logic
of consumerism bigger is better, and consequently the early 1990s
witnessed a metamorphosis of the modest middle-class American
home into a house on steroids: the “MacMansion,” “garage Majal,”
or “Hummer house,” as it became variously known to the critics
of its ostentatious rooflines, inflated girth, generic pretensions to
taste, and empty-calorie profligacy. As the suburban home bulked
up on such new “essentials” as three-car garages, two-story entryways, and stadium-sized master bedrooms, the scale of lots kept
pace. For example, by 2003 the average yard in Massachusetts was
47 percent larger than its 1970s counterpart.
In order to promote this highly profitable growth, developers looked increasingly further afield for undeveloped terrain to
Ò The suburb and the drip painting, each
oblivious to restraint, may be the most
appropriate emblems of American
prosperity at its peak in the 20th century.Ó
Dylan Beck’s Co-Modify,12 ft. (3.7 m) in length, bisque
porcelain and vinyl, 2009.
pearance over the past five years among the products of so many
sculptors working independently from one another—be described
as a new genre. The expansive, generally horizontally oriented and
multipartite format of works in this genre, which I propose calling
the ceramic sprawlscape, tends to create an impression of potential
boundlessness, a quality for which, interestingly, there is as much
precedent in modern art as there is in modern American patterns
of residential development. No doubt it is more than coincidental
that in 1947, the very year in which ground was broken for the
first modern American suburb, Levittown, Long Island, only a
few miles away in his barn at Springs the Abstract Expressionist
Jackson Pollock was experimenting with the earliest of his revolutionary drip paintings, compositions in which the conventional,
42
october 2011
exploit, destroying wildlife habitats and smothering productive
farmlands at a rate of 1 million acres a year. The result, as East’s
emblematic sprawlscape suggests, was a pattern, repeated from
Denver to Dallas and Charlotte to Seattle, in which urban centers
became the hubs of centrifugally expanding metroplexes. Along the
way, American suburbia transformed into what urban-development
specialists refer to as the exurbs: communities that exist, like
satellites orbiting planets, in the proximity of established cities
yet largely independent of them. More than bedroom communities, exurbs typically contain their own shopping, recreation, and
commercial centers, and in some cases have even surpassed their
hub cities both in numbers of inhabitants and in square miles of
asphalt and concrete.
A model of land-resource waste, the exurb is a natural consequence of the uncoordinated urban development that has
characterized expansion of most American metroplexes over the
past 40 years. Sculptor Dylan Beck, a prominent exponent of the
ceramic sprawlscape, has described such lax planning policies as
Gary Carlos’ Shielded, 4 ft.
(1.2 m) in length, pressmolded ceramic tile, low
fired, 2004.
“emergent,” the result of a “bottom-up rather than top-down” approach to growth. Local building codes may impose some restraint,
but for the most part individual developers, motivated by an eye
for profit rather than a concern for the efficiency of infrastructure
or conservation of land resources, have been left to make the majority of design determinations with relative freedom. The result
has been hopscotch growth responding more to the availability
of inexpensive, undeveloped land than to concerns for efficient
utilization of resources or long-term sustainability.
Recreating Sprawl
The contrast between the sporadic growth typical of suburbia and
exurbia and the coordination and efficiency of rarer “top-down”
strategies of development served as inspiration for Gail Heidel’s
multipartite Converge, a ceramic sprawlscape exhibited first in 2008
and most recently in 2010 at the Main Line Art Center, Haverford,
Pennsylvania. On a terrace flanking the center’s entrance, the artist
arranged 912 bricks—cut to suggest architectural modules—into
211 variations that together evoked familiar desultory patterns
of urban expansion. In this case, Heidel loosely referenced the
Main Line district, an affluent western suburb of Philadelphia
that sprang up along an abandoned route of the old Pennsylvania
Railroad, but the allusions made by the piece were equally applicable to scores of other American municipal contexts. As a counter
to this erratic and inefficient composition, Heidel constructed
nine “permutations” representing the more orderly alternative of
“top-down” planning.
Similar ceramic sprawlscapes—including Christopher Willey’s
2007 Community at the Northern Clay Center, Gary Carlos’ 2003
Target, and Beck’s 2005 Boomburg and 2007 A Modular City—have
explored erratic urban growth through the apt analogy of ceramic
modules proliferating in dizzying profusion across gallery floors
or walls. Such installations tend to be equally well described as
performances, since the real-time actions of laying out the modules
in often arbitrary dispersion can be as metaphorically charged as
the physical consequences in the sprawling configurations of units.
A major impetus to this kind of work is no doubt the curiously
illogical contrast between the brick, a uniform ceramic building
unit designed to promote efficiency in both production and construction, and the often highly inefficient suburbs and exurbs in
which those ceramic architectural modules have frequently figured
since the middle of the 20th century.
october 2011
43
Exploring The Environmental Consequences
Suburbia/exurbia’s encouragement of personal auto-dependency is
obviously a concern for the environment, and—as Beck’s ceramic
sprawlscape Co-Modify suggests through its bisque-porcelain references to a factory and a distant shopping mall—the suburban/
exurban model also promotes longer and less energy-efficient shipping of goods from producer to consumer. Among the harmful
by-products of the combined indulgence in auto-dependency and
energy-profligate systems of commercial distribution are massive
amounts of the greenhouse gas carbon dioxide, ozone-depleting
nitrogen oxide, volatile organic compounds and noxious particulate
matter. In his perversely sublime ceramic-tile sprawlscape Shielded,
Carlos hints at another, often overlooked consequence of suburbia/exurbia’s auto-dependency: the adverse effects of impervious
surfaces, from driveways to vast commercial parking lots, on the
hydrologic cycle. Shielding the ground from precipitation, these
enormous expanses of asphalt and concrete disrupt the natural
process of water filtration, funneling chemical runoff directly into
streams, rivers, and ultimately sources of drinking water such as
lakes and reservoirs.
Flooding, with its attendant problems of soil erosion, farmland
contamination, and property destruction, is another pernicious
consequence of suburbia/exurbia’s impervious surfaces and a key
phenomenon explored in one of the most materially complex
ceramic sprawlscapes: Del Harrow’s City of Porcelain and Plastic.
Having absorbed the ideas of Dutch architect Rem Koolhaus
regarding the possibility of turning accident, randomness, and
irregularity into account in urban design through a balancing of
“complementary extremes,” Harrow set out to create a model of
sprawl. Less a criticism of the effects of uncoordinated growth than
an exploration of creative principles through reference to the sometimes controlled, sometimes erratic development of metroplexes,
Ò The expansive, generally horizontally
oriented and multipartite format of works
in this genre, which I propose calling the
ceramic sprawlscape, tends to create an
impression of potential boundlessness.Ó
the City of Porcelain and Plastic is comprised of fired and unfired
porcelain components periodically drenched by water released
from a suspended configuration of tubing and plastic bottles. For
Harrow, the continual rebuilding necessitated by this inundation
provided an opportunity to consider the factor of response to
randomness in the process of creativity.
Del Harrow’s The City of Porcelain and Plastic, unfired and fired porcelain, plastic tubing, plastic water containers, aquarium pump,
motion sensor, steel wire, 2006.
44
october 2011
Paul Sacaridiz’s Towards Models, Propositions and Some Possible Systems, ceramic and wood, installed at The Philadelphia Museum of Art,
Philadelphia, Pennsylvania. Courtesy of the artist and The Philadelphia Museum of Art, 2010.
Reflecting The Aesthetics of Urban Design
Like Harrow, sculptor Paul Sacaridiz has taken special interest in
the aesthetics of urban design, in particular as it mediates between
the “precise and articulate” and the “random and chaotic.” His
Decorative City project, begun in 2005, drew inspiration from 19thcentury visions of utopian communities, placing particular emphasis on the need for networking—a provision for infrastructure to
connect components efficiently across space—and its potential for
both conceptual elegance and visual appeal. Eschewing the kind of
architectonic modules employed by East, Willey, Beck, and Heidel,
Sacaridiz has maneuvered the ceramic sprawlscape in the direction
of ever-greater abstraction, raising issues of resource management
and spatial efficiency to a universal level. For example, his Towards
Models, Propositions and Some Possible Systems, installed amidst the
solemnity of colonial furniture in the decorative arts galleries of
the Philadelphia Museum of Art in 2010, suggests a prelude to the
specifics of top-down planning in a general reflection on aesthetics and spatial logistics that could be equally applicable to urban
development and museum storage and display.
The vagueness of the “propositions” in Sacaridiz’s Towards
models begs certain conclusions about the ceramic sprawlscape
as a genre. Despite its focus on the problems of sprawl, it ultimately tends not to foment rebellion against existing lifestyles
or endorse specific alternatives to our present models of urban
development. In fact, the ceramic sprawlscape seems more often observational and explorative than critical or proselytistic.
There are no doubt numerous reasons for this, not the least of
which is that the makers of ceramic sprawlscapes are for the most
part themselves products of suburbia and naturally ambivalent
about its benefits and liabilities. It may also reflect the general
disillusionment with criticism that has infiltrated the art world
for the past decade. At any rate, though it may fall well short of
activism, the ceramic sprawlscape does at least actively engage
contemporary issues relevant to the future of the environment
and the life forms inhabiting it. While ceramics as a discipline is
under no specific obligation to pursue any such course, at a time
when so many questions surround the impact of human activity
on the fate of the planet, a display of conscience in ceramics is
surely not misplaced.
the author a frequent contributor to CM, Glen R. Brown is professor of art history at Kansas State University in Manhattan, Kansas.
october 2011
45
RETURN VOYAGE:
HARLAN
HOUSE
SETS SAIL
Harlan House is one of Canada’s doyens of ceramics who has, over
the past four decades, established an international career and a
reputation for excellence in craftsmanship, marrying both Eastern
and Western traditions while building a seminal legacy of form and
function. This fall, House displays a new body of work that might
seem to many a 180-degree departure from his characteristic sublime/traditional wares. House largely abandoned the wheel in favor
of slip casting cheeky, if not satirical, take-offs of iconic corporate
and political moguls such Colonel Sanders, Ronald McDonald,
George Bush, and Stephen Harper. Given such tumultuous upset
on an otherwise reliably consistent creative landscape, an inquiry
was definitely in order: Who is the man behind the art, what
moves him to create, and why has he seemingly embarked on such
a startlingly non sequitur journey?
House lives in the small community of Lonsdale, Ontario, two
hours east of Toronto, where he and his wife, Maureen raised two
Above: Harlan and Maureen House on the 50th
anniversary of their fist meeting at their high school
spring dance. Photo: Vanesa Trillia.
Right: Crowe’s Gift, 14 in. (36 cm) in length, thrown
and handbuilt porcelain with carved decoration, fused
together at cone 12 with celadon glaze, sandblasted
decoration added to vase, 2005.
46
october 2011
by Heidi McKenzie
children and have grown a thriving pottery over the past four decades. House grew up in Lethbridge, Alberta, the son of a contractor. His mother was a landscape painter. As a boy, his neighbor, a
low-relief leather embosser, took the young Harlan under his wing,
and taught him the craft. By eleven, House had set up shop in the
family’s basement, and busied himself hand-tooling and selling his
wares. According to House, who has been carving porcelain for over
forty years, the process of working low-relief leather is identical to
working on clay, and “after fifty years of doing the same thing, I’m
getting pretty good at it.”
After a brief post-high school sojourn “kicking around the oil
patch,” selling clothes, and working at a mental hospital, House fell
upon the Alberta School of Art, “I walked in the doors and knew
I was in exactly the right spot—it didn’t seem to be an option.”
House began his studies in painting, however he was soon
enamored of his roommate’s potter’s wheel. “Every time I sat at a
wheel, it just felt like I was home.” His early works
in both media were fuelled by an activist spirit akin
to one evidenced in Edward Burtynski’s photography.
House’s early ceramic sculptures took the guise of wall
pieces that addressed the never-ending building of
freeways in National parks, oil exploration cut lines in
the mountains, and cities that paved their greenery.
“I felt I was responding the way any artist would
and should.”
Believing that there always has been
a role for art in affecting social change,
House was keen to have people take notice
of the potential ills of corporate commercialization, consumerism and industrialization. House is nothing if not a man with a
message. “I hope that I’m pointing out the
invasion of corporatism into my life and everybody’s life that’s around me. I want to point
out the idea that large corporations can control
virtually everything that goes on.” Frustrated,
House felt he lacked the finesse and expertise
to render his visions in clay. “Any time you do
something that is idea-driven, you start to meet
your limit when the ideas are bigger than your
tool kit.” House set about building his tool kit,
a process he ironically refers to as his “40-year
detour.” It is that “detour” that fomented House’s
signature iris vases, as well as his quietly beautiful
family of functional forms.
House draws his inspiration from many sources,
reaching back to the Sung dynasty and Italian Renaissance, as well as the French Expressionists. The
common unifying attraction for House is
the artists’ absolute commitment to both excellence
and beauty.
M Extreme Happiness, 42 in. (1.06
m) in height, slip-cast forms (hull
and deck made separately), glaze,
sgraffito decoration, cherry wood
base, and florescent lights, 2011.
october 2011
47
Aside from a ten-year child-rearing hiatus in the mid-1970s,
of the boats he had witnessed on the canals. When House began
House has continued painting as a corollary creative outlet. His
making boat-like vessels, it was Maureen who placed a flower in a
social commentary regarding the absurdity of mass production
cast-off—a simple act that birthed a whole new series of boat vases
of junk food took foothold in the mid-1980s. “As an artist and
for House. It was also Maureen who was the able-bodied assistant
as a human being, I was mystified and
and technician in the studio who allowed
astonished that these tycoon corpora- “Any time you do something House to physically manage the moving
tions could get away with foisting cheap,
and firing processes for the larger sculpmass-produced food onto society in that is idea-driven, you start to tures. House’s boats evolved in size and
general, and young people in particular.” meet your limit when the ideas monumentality into metaphors for the
Although a staunch atheist himself, House
vessels that ferry mass-produced “junk”
habitually sources the Church in his work are bigger than your tool kit.” back and forth from the West to the East.
juxtaposing contemporary consumerism
A recent boat vessel sculpture, M Extreme
in the mix, “Religion is the first and most successful form of adHappiness, stands five and a half feet tall and was inspired by the
vertising. That’s why I chose KFC, McDonalds, and Coca-Cola
onslaught of American tourists in Venice. For House, the boat is
to work with.”
simply a look at the question, “How big is big, and is big better?”
House’s wife, Maureen, his high school sweetheart and lifeHouse’s most recent exhibition, “China: Made in Canada,”
companion of over half a century, is a seminal force in House’s
which ran August 18–September 25, at the David Kaye Gallery
practice and the success of his business. Maureen is responsible not
in Toronto, Canada, is the fruition of two years of creative output.
only for the business side of the studio, she is the indispensable and
The recipient of a Canada Council for the Arts grant, House was
enthusiastic assistant. One of the enduring images from House’s
freed from the shackles of having to earn a living through his art
1997 visit to China that found its way into his studio was that
and established clientele. The works displayed brazenly sports
Left: McRose Holder and
Fries, 12¼ in. (31 cm) in
height, slip cast super-size
form, with cobalt brush
drawing and Qing Bai glaze,
2011. The vase form is meant
to hold long stem red roses.
Above: Harland in the
Peonies, 13 5⁄8 in. (35 cm) in
height, slip cast, carved, and
glazed with HH celadon, fired
to cone 12, 2011.
48
october 2011
Starry McDee for Tea, 13¼ in. (34 cm)
in length, assembled slip-cast porcelain,
with stenciled slip decoration and Qing
Bai glaze, fired to cone 13, 2010.
the often distorted yet familiar logos of KFC, Coca-Cola and the
ubiquitous “golden arches.” On the surface, the shift in the work is
a move that seems to see the artist “jump ship” from his terra firma.
House literally went back to the drawing board to re-tool his skill
set in order to realize the scale of his ambition. House travelled to
the Meissen Manufactory in Dresden and the Sèvres plant outside
of Paris in order to learn first-hand the tricks of the trade employed
for two and a half centuries, before current industrial technology,
that would allow him the mechanisms to build, maneuver, and fire
large-scale works, as well as manipulate porcelain slabs and slip cast
to the degree the new works demanded.
Aside from the cunning play on words (China, the country
and china, the good dishes) the show is a sweeping criticism of
anti-localization and growing globalization that ultimately leads
to the exploitation of human beings in the name of efficiency and
economy. “I know that it is the goal of many American food corporations to make all of Asia and especially China their next great
pot of gold at the end of the proverbial rainbow,” House reckons.
His deeply ingrained corporate loathe stems from having lived
in a tiny village for over forty years and having watched the local
vendor/farmer be all but pushed out of the picture. “I go to the
local hardware store and a Walmart is there instead. I have to go to
Home Depot for plumbing supplies. The local butcher shop went
under, and I have to go to Metro and Loblaws to buy poorly packaged meat from kids who have never seen a side of beef. The local
place that used to sell local fish was put out of business by processed
and packaged Canadian fish that was sent back to us from China.”
House is most eloquent in qualifying his artist statement
for his new work: “I am a concerned artist up to his waist in a
corporate junk food, low calorie, light beer, butter free, everyman-for-himself world; where time is money, [the] bottom line is
all that counts, and pasta is grown by Mr. Kraft. I have watched
our society move into near lock step with Corporate America. I
want to expose my misgivings by using well-known corporate and
political symbols on my vessels. It is my contention that we, as a
society, have given up more than we have gotten from industrial
and corporate giants. I have witnessed the near total domination
of our food supplies by super box stores, and at the same time seen
an onslaught of mediocrity in quality.”
House is a firm believer in a process method. In the spring he
leaves his studio behind and turns his attention to his vast garden
and home repairs, swapping one apron for another. “The real purpose is to remember what you’ve been doing, to compost the whole
thing and go into the studio in the fall fresh, when you have thought
about what it is that is important in your own little art world.”
Ultimately, House continues to diligently work away at realizing
the legacy inculcated in him as a boy at YMCA camp at Waterton
Lakes National Park; simply put, “It would be a real good idea if
this place is in better shape when you left it than when you came.”
the author Heidi McKenzie is an arts journalist and ceramic artist
living in Toronto, Canada. She has written for the Globe & Mail,
Toronto Star, and currently publishes in POV magazine, Fusion
magazine, and Ceramics Monthly.
october 2011
49
mfafactor
University of Minnesota, Twin Cities
Mark Pharis, professor, vase set, handbuilt earthenware, terra sigillata, glaze, electric fired to cone 04, 2011.
Program Details
• 3-year program
• Applicants/year: 35–40
• Positions/year: 2
• Teaching assistantships/fellowships: 2
• Cost per semester: $7006 (in-state); $10,733 (out-of -state)
Tom Lane, associate professor, Ai Weiwei Jar, 18 in. (46
cm) in height, slip-cast porcelain, white glaze with iron
decal, electric fired to cone 10, 2011.
Tetsuya Yamada, associate professor, heavenly thought (installation
detail), ceramic and found object, created at European Ceramic
Work Centre (EKWC) residency program in 2010.
50
october 2011
Facilities Highlights
• 30 Lockerbie kickwheels
• 15 electric wheels
• 2 Leach treadle wheels
• 3 de-airing pugger mixers
• 2 slab rollers
• 3 extruders
• 2 Soldner mixers
• 2 ball mills
• 2 glaze spray booths
• 3 electric test kilns
• 2 manual electric kilns
• 10 computer controlled electric
kilns—cone 10 capable
• 2 updraft gas kilns (30 cubic
feet each)
• 5-cubic-foot updraft gas kiln
• 4 updraft gas kilns (40 cubic
feet each)
• 50-cubic-foot downdraft gas kiln
• soda kiln
• double chambered wood kiln
1
1 Terry Hildebrand’s tea set, up to 7 in. (18
cm), wheel-thrown porcelain with slip inlay,
soda fired to cone 10, 2011.
2 Ginny Sims’, Platter With Chandelier
and Egg Cup, platter: 11 in. (28 cm) in
diameter, egg cup with egg: 5 in. (13 cm) in
height, handbuilt, wheel-thrown, and carved
porcelain, underglaze, underglaze pencil,
glaze, electric fired to cone 10, 2011.
2
3 Michelle Summers’ Dinner Party, 31/ 2 in. (9
cm) in height, wheel-thrown porcelain with
inlay, fired to cone 10 in oxidation, 2011.
4 Maggie Finlayson’s untitled, 45 in. (1.1
m) in length, press-molded porcelain, terra
sigillata, oxidation and reduction fired to
cone 10, plaster, found chair, fabric, 2011.
Dedicated Spaces
• outdoor sculpture and kiln yard
• clay mixing room
• glazing and glaze mixing room
• plaster mold making area
• approximately 300-square foot
graduate studio spaces
• graduate glaze lab
• graduate kiln room
5 Korla Luckeroth’s When asked why he
keeps the window open and lets the pigeons
back in, “I wanted somebody to live in the
building, he says.” 15 in. (38 cm) in height,
carved red earthenware, underglazes,
electric fired to cone 04, 2011.
3
4
5
october 2011
51
rEviEws
1
4
2
3
6
5
7
1 Courtney Murphy’s white sugar and creamer set, 6 in. (15 cm) in height, earthenware, 2011. 2 Chris Staley’s Wet Snow at Night, stoneware, 2010.
3 Eric Kao’s Rabbit Coat Hook, porcelain. 4 Josh DeWeese’s, basket, salt/soda-fired stoneware, 2011. 5 Giselle Hicks’ untitled (floral pillows), slip-cast
ceramic, inlaid slip, and glaze. 6 Steven Young Lee’s Jar with Birds and Butterflies, 20 in. (51 cm) in height, porcelain, cobalt inlay, decals, and China paint,
2011. 7 Kurt Weiser’s Luna, porcelain, 2010.
Archie Bray Foundation 60th Anniversary Exhibitions
For the common visitor, the Archie Bray Foundation for the Ceramic
Arts (www.archiebray.org) in Helena, Montana, is a magical place. For
those working in the ceramic arts, the Bray is a Mecca. Its sprawling
grounds carry the memories of countless artists who have spent late
nights in its studios, fired in its kilns, and communed in its courtyard.
The Bray recently marked its anniversary with a celebration billed
as “60 years of creativity and innovation.” Hundreds of people from
all over the world attended the three-day affair, which included studio tours, exhibitions, workshops, and receptions. Galleries across
town and across the state dedicated space to works by former and
current resident artists. The exhibitions specifically held during the
anniversary celebration were “Artists from the Center” and “2011
Artists to the Edge and Resident Artists Exhibition.” For the latter,
the Bray invited eleven preeminent ceramic artists to spend a month
interacting in the Bray’s studios
Walking into the exhibition Artists from the Center is like
walking into a room full of old friends—if your friends happen to
be some of the greatest ceramic artists working in the world today.
Here is a classic Sarah Jaeger teapot; over there, an unmistakable
Kurt Weiser globe, complete with reflections of his bizarre Eden.
A gorgeous Don Reitz sculpture sits in the corner, across the way
from a lovely, slouching vessel by Josh DeWeese. On the whole, the
show is top-notch, exquisite in its conception and execution. The
work is all recent, representing these thoroughly practiced artists at
their absolute best. The exhibition is warmly lit and intimate, and
is anchored by Chris Staley’s regal vase, Wet Snow at Night. Dotted
with muted white “snow,” the vase is a beautiful, powerful piece.
One of the most unusual pieces is a sculpture of a little girl on a diving board by Tip Toland, Grace Flirts (see CM January 2011, p. 24).
52
october 2011
by Emily Donahoe
The girl is perfectly executed, from her eyes and legs right down to
the chilled blue veins in her arms, but a pair of cherry red clown lips
covers her own. The effect is jarring and disconcerting. Another strange
but mesmerizing piece is Patti Warashina’s Figure C With Red Ball—a
distorted, infant-like figure, a perfect red ball balanced on its left arm.
Contrasting these is a quietly beautiful vase by Julia Galloway, glazed
in muted green and gold and painted with an intricate floral pattern.
This simple vase is a fitting counterpoint to these two high concept
works; the effortlessness of its execution makes it equally as effective.
Across the way in the Warehouse Gallery, the new guard shines in
the exhibition 2011 Artists to the Edge and Resident Artists Exhibition. Just inside the front doors are the Bray’s Resident Artist Director
Steven Young Lee’s strangely warped vases. The vases themselves are
traditional, but they’re not doing what they’re supposed to be doing—they’re collapsed, melting, ripped open to the heart. The vases
are a strong opening to this wide-ranging exhibition: letting the viewer
know they’re going to see some familiar things—perhaps presented
in totally unfamiliar ways.
One of the more “out-there” pieces is a busy sculpture by Linda
Sormin that, although it’s glazed ceramic, looks as though it’s made
from metal and chewing gum and resembles a child’s furious crayon
scribble come alive. The sculpture’s “messiness” both attracts and repels.
Arresting in a completely different way is Bobby Silverman’s gorgeous
clay “painting,” a thin porcelain tile covered in a deep, lustrous red
with black and turquoise accents, which he describes as “Morse code.”
Magnetic in its beauty, one could stare at it for hours. The staring gets
even more interesting if you consider the piece’s title, which includes
a quote by Oscar Wilde: “When bankers get together for dinner, they
discuss art. When artists get together for dinner, they discuss money.”
8
11
12
9
10
14
13
8 Kelly Garrett Rathbone’s The Skull Catrina (l) and Delivered Bethulia (r), glazed earthenware, 2011. 9 Linda Sormin’s Drift. 10 Bobby Silverman’s “Wilde” Morse Code
Translation; “When bankers get together for dinner, they discuss art. When artists get together for dinner, they discuss money.” 11 Patti Warashina’s Figure C with Red Ball,
low-fire clay, underglaze, glaze, and mixed media, 2010. Photo: Rob Vinnedge. 12 Don Reitz’s Tea Stack, stoneware, wood fired to cone 13, 2011. 13 Kensuke Yamada’s
Shiro, 34 in. (86 cm) in height, 2011. 14 John Balistreri’s Teabowl with Clone, wheelthrown teabowl and ceramic three-dimensional printed teabowl, wood-fired stoneware.
Dark and astonishing, Kelly Garrett Rathbone’s massive, richly
colored vessel-sculptures are like nothing you’ve ever seen. The vases
themselves would be incredible all on their own—not to mention
the grotesque, female-zombies sticking out of the tops of them.
Rendered in rust, green and gold, these majestic pieces look like they
have lived a lifetime in a musty, Victorian mansion; and the women
themselves are Mozart’s zombie-mistresses.
On the other end of the spectrum are artists embracing traditional
forms by giving them a fresh look or whose work is remarkable simply because of their flawless execution. Several of the artists use color
in ways that seem both classic and contemporary at the same time;
and the attention to detail is such that it is easy to get lost gazing
at these pieces, as though one had never seen a cup or a coffee mug
before. For example, Giselle Hicks has created a hypnotizing quartet
of wall tiles in simple, Chinese pottery-inspired blues. The not-quite
two-feet-square quartet seems to take up much more space than it
actually does, perhaps because of its generous beauty.
Two noteworthy artists in the realm of functional work are Andrew Gilliatt and Courtney Murphy. Gilliatt’s 1950s inspired cups
and vessels are painstakingly fashioned and decorated with sunny,
intricate decals. Murphy has created a series of inviting cups, vases
and the like, adorned with cheerful flora and fauna. As always,
Ayumi Horie enchants and amuses with her animal-decorated bowls.
This time, however, the bowls are accompanied by an iPad that has
information on Horie’s online work.
They take up so little space that you might miss them, but John
Balistreri’s two small vessels in shades of chocolate and grey are just
exquisite. But these lovely vessels are not so simple: one of the teabowls
was wheelthrown, while the other was created via digital printing using
information from a three-dimensional scan of the wheelthrown piece,
hence the title Teabowl With Clone.
And Erik Kao has crafted a series of whimsical bunny “coat
hooks” done in various finishes—metallic to iridescent, plus one
peppered with the word BRAY. The hooks could be functional or
decorative—but they’re delightful to look at, that’s for certain. Kao’s
final piece is a small, crude clay figure standing on the gallery floor
whose arms are laden with a tower of Bray bricks reaching all the
way to the ceiling that’s titled, The Bray Goes On. It’s a fitting tribute
to a center where young artists continually reach greater heights,
supported on the backs of those who came before them.
Because of the spectrum of the work and the fact that the exhibition is presented in a larger, more irregular space, 2011 Artists to
the Edge and Resident Artists Exhibition is not as cohesive as Artists from the Center. The Resident Artists portion of the exhibition
especially represents emerging artists and thus not all of the work
is equally successful.
However, this arrangement provides an inspiring interplay between young and mature artists. If there is a theme that emerges,
it is that we are moving into an era in which boundaries will be
pushed: new technologies are expanding the way artists work with
clay. That said, there will always be those committed to the humble
vessel and the pursuit of perfection in traditional forms. Overall,
these three exhibitions are filled with wild and wonderful things
that make you feel hopeful about the future of ceramic art. And that
future is certain, as long as the Archie Bray Foundation continues to
provide—as Bray himself famously proposed—“a fine place to work.”
the author Emily Donahoe is a writer living in Bozeman, Montana.
october 2011
53
rEviEws
1
2
5
4
3
6 6
7
1 Louis Pierozzi’s teapot, 12¾ in. (32 cm) in length, wheelthrown, handbuilt, and sandblasted stoneware, 2010. 2 Sam Chung’s teapot, 8½ in. (22 cm) in height, China
paint, glaze, and porcelain. 3 David Bolton’s Entrapped Ewer with Paisleys, 8 in. (20 cm) in height, wood-fired porcelain, 2010. 4 Warren MacKenzie’s teapot, 8½
in. (22 cm) in height, stoneware, clear glaze over white crackle slip with bamboo handle, 2010. Photo: Ben Bates. 5 Tom Turner’s teapot, 10¾ in. (27 cm) in height,
wheel-thrown porcelain, paddled, stamped, multiple oilspot glazes, 2011. Photo: Koos Badenhorst. 6 Pete Pinnell’s teapot, 9 in. (22 cm) in length, brown stoneware,
wheelthrown and handbuilt. Photo: Koos Badenhorst. 7 Robert Archambeau’s teapot, 8 in. (20 cm) in height, soda-fired stoneware, 2010. Photo: Ben Bates.
Teapots: an invitational
by Antoinette Badenhorst
Imagine a tilted teapot with a strong elegant stream of tea pouring
through a spout, wide at its base and tapered towards its end. The
teapot is held firm and comfortably by a handle that balances the
physical weight of the body. The spout is placed so that the tea does
not start pouring out too soon. As the teapot is tilted, the lid stays securely locked in place and the tea does not spatter. When the user puts
the teapot down, no liquid dribbles down the spout and the elevated
foot both protects the table surface from burns and ensures that the
remaining tea stays warm. This would be the perfect utilitarian teapot.
For more than five centuries, potters have explored and created
teapots. The complex design in which spout, handle, lid, and foot
have to work together aesthetically as well as functionally always
challenges artists. By adding unique and special touches; associating
them with human bodies and animals for instance, potters can give
their teapots personality. These beautiful ornaments evolved and associations with hospitality, comfort and status prompted them to push
the literal meaning of the teapot. It became a medium through which
they communicated social, political, and idealistic views. Striving to
balance craftsmanship and artistic expression keeps them on the edge
of solving problems as they turn utilitarian teapots into works of art.
Knowing all of this, Ben Bates encouraged his students to explore
the teapot form and exposed them to some of the country’s finest teapot
makers when he invited 37 potters to exhibit their teapots in the Robert T. Wright Community Gallery of Art (http://gallery.clcillinois.edu)
at the College of Lake County, Grayslake, Illinois. I had several op54
october 2011
portunities to revisit and observe the exhibition. My own education
about the teapot was reinforced as I studied each one.
Utility and Expression
Many of the artists successfully incorporated expressive qualities into
primarily utilitarian teapots. Kevin Foy’s black and gold teapot imitates
a harlequin’s pattern and stance, integrating surface and form with a
functional design. Robert Archambeau’s teapot has a pleasant classic
quality; good craftsmanship and simple, unpretentious execution result
in a utensil that works well. Charity Davis-Woodard also created a
functional handle and foot, a good working spout and a well-fitting
lid, but the teardrop shape that’s repeated in the handle and the lid,
as well as the surface decoration on the body of the piece, and the
selective glazing that unites these along with the spout, not only work
together aesthetically, but add a charming ornamental quality to it.
Via its form and scallop design elements, Pete Pinnell’s somewhat
ornamental teapot reflects nature. The uniquely elevated foot grows
from the scallops and promises to keep tea warm, while handle, spout,
and lid promise a trouble-free pouring of tea.
Tara Wilson and Sam Chung flirt with both functional and expressive teapots. Although worlds apart in look and feel, there are subtle
similarities between their work. As they both draw from traditional
and historical references, they acknowledge the need for a spout that
pours well, a practical handle that allows for a balanced grip in relation
to the size and weight of the teapot, and a well-secured lid. Both artists
8
11
9
12
10
13
14
8 Tara Wilson’s teapot, 8 in. (20 cm) in height, wood-fired stoneware. Photo: Ben Bates. 9 Charity Davis-Woodard’s teapot, 9½ in. (24 cm) in length, soda-fired
porcelain, slip, multiple glazes, 2011. Photo: Ben Bates. 10 Jane Shellenbarger’s teapot, 11 in. (23 cm) in height, soda-fired black stoneware, 2010. 11 Kevin Foy’s
teapot, 11½ in. (29 cm) in height, stoneware, 2010. Photo: Chris Arrecis. 12 Matt Wilt’s Server, 14 in. (36 cm) in length, stoneware, concrete, steel, 2009. Photo: Ben
Bates. 13 James Lawton’s teapot, 12 in. (30 cm) in length, clay, saggar-fired terra sigillata with cone 6 glaze script. 14 Ben Bates’ teapot, 10 in. (25 cm) in height,
soda-fired porcelain, 2010.
pay special attention to a neatly tapered pouring edge—not risking
chipping easily with too sharp an edge, but just sharp enough to cut
the surface tension and prevent the tea from dribbling down the spout.
Tom Turner offers a curious finial on the inside of the teapot lid
that helps create a lower center of gravity, a solution to keep it from
falling out when tilted.
Expression and Utility
During the last half century, artists began to use the teapot genre
as a means for expression. Bates uses the traditional elements of the
teapot, but mostly focuses on the overall aesthetic success thereof.
Subtle indications of expression, like visual weight, warn the viewer
not to confuse it with a utilitarian object. The vessel form becomes a
vehicle for ceramic techniques and surface decoration; offering a large
canvas for Bates to play with combining masculine and feminine
characteristics. The meaning is left open to personal interpretation.
Focusing intentionally on a full, heavy belly, Bede Clark’s teapot
leaves an image of physical and emotional satisfaction. The warm,
eye-pleasing surface carries stress marks of a wood firing, while the
placement of the spout signals an unwillingness to spill its content.
Jane Shellenbarger, Ted Neal, and Louis Pierozzi offer good
examples of how artists keep stretching and testing the boundaries
of the teapot genre. Their intentional inflection of traditional attachments forces the viewer to seek for meaning and content rather than
function. At the same time, Jim Lawton breaks totally free from the
formal essentials of teapots. The communicated content, in which
the artist betrays his fascination with handwritten script, comes across
long before the observer associates it with a teapot. Subtly similar, although borrowing from the quilt-making craft instead, David Bolton’s
wood-fired Entrapped Ewer with Paisleys leaves the viewer somewhat
confused between ewer and teapot. While he proposes that as a possible
problem, he leaves it up to the observer to find a solution.
Matt Wilt created Server, which uses clay, concrete, and steel to
push the teapot—in terms of its shape and function—to unimportance. However, when he fills it with content that is expressive in
nature he restores its status again.
It becomes an ambiguous object that raises questions with answers to be found in the different layers of form, color, texture, and
all materials used. The viewer unravels the answers when she or he
finds familiar elements that provoke personal associations.
Persistence of Form
The work of iconic potter, Warren MacKenzie, displayed intimately
close to those of young artists, told a story of persistence. The silent
promise of an evolving teapot encourages those who still have much
to learn, to explore, and strive to refine the function of teapots, while
building the vocabulary of artistic expression.
the author Antoinette Badenhorst lives in Illinois. She is a ceramic artist,
educator, and writer for national and international ceramic magazines.
october 2011
55
CONTEMPORARY
LACOSTE GALLERY
CERAMICS
DON REITZ
PROJECT
SOFA CHICAGO
Sorting My Thoughts
23x12x10”
Stoneware slip
glaze, 2011
ALSO FEATURING
TIM ROWAN
ANI KASTEN
RONNIE GOULD
WARREN MACKENZIE
KAREN KARNES
MARK PHARIS
SUNKOO YUH
NOVEMBER 4-6
AT NAVY PIER’S
FESTIVAL HALL
OPENING NIGHT
PREVIEW PARTY
NOVEMBER 3
LACOSTE GALLERY
2 5 M A I N S T R E E T, C O N C O R D M A 0 1 7 4 2
W: L A C O S T E G A L L E R Y. C O M T: 9 7 8 . 3 6 9 . 0 2 7 8
56
october 2011
2012guide
gallery
United States
58
58
58
58
62
66
66
66
66
66
66
70
70
70
70
70
70
70
70
74
74
74
74
Alabama
Arizona
Arkansas
California
Colorado
Connecticut
District of Columbia
Florida
Georgia
Idaho
Illinois
Indiana
Iowa
Kansas
Kentucky
Louisiana
Maine
Maryland
Massachusetts
Michigan
Minnesota
Mississippi
Missouri
International
74
74
78
78
78
78
82
82
86
86
86
86
86
86
86
90
90
90
90
90
90
94
Montana
Nebraska
Nevada
New Jersey
New Mexico
New York
North Carolina
Ohio
Oklahoma
Oregon
Pennsylvania
Rhode Island
South Carolina
Tennessee
Texas
Utah
Vermont
Virginia
Washington
West Virginia
Wisconsin
Wyoming
94
94
94
94
98
98
98
98
102
106
106
106
106
106
106
106
106
110
110
110
110
110
110
Australia
Austria
Belgium
Canada
Croatia
Cyprus
Denmark
England
France
Germany
Hungary
India
Ireland
Israel
Italy
Japan
The Netherlands
Norway
People’s Republic of China
Scotland
Switzerland
Taiwan
Wales
United States listings are alphabetical by state, district or commonwealth, then cities within the
state. International listings are by country and city. Contact information has been included to
allow you to check current offerings and hours before visiting. To help us make the guide more
comprehensive in the future, please send information about any omissions to Ceramics Monthly,
Gallery Guide, 600 N. Cleveland Ave., Ste. 210, Westerville OH 43082, USA.
Natalie Velthysen’s Field (detail) at Innercity Clayworkers,
Glebe, New South Wales, Australia.
october 2011
57
Alabama
gallery guide 2012
Red Dot Gallery, 1001 Stuart St., Birmingham AL 35209;
[email protected]; www.reddotgallery.com;
205-870-7608. Primarily exhibiting contemporary
ceramics; functional and sculptural works;
representing 2 clay artists; Scott Bennett and Dori
DeCamillis; 2 clay exhibitions per year; 1 exhibition
including clay per year.
The Kiln Studio and Gallery, 60 N. Section St.,
Fairhope AL 36532; [email protected];
www.thekilnstudio.com; 251-517-5460. Primarily
exhibiting contemporary ceramics; functional,
sculptural, figurative, and installation works;
representing 9 clay artists; Scott Bennett, Susie
Bowman, Annette Gates, Casey Ginn, Chris Gryder,
Ron Meyers, Bertice McPherson, Ronan Peterson,
and Chuck Solberg; 6 clay exhibitions per year; 1
exhibition including clay per year.
Arizona
Gallery 465, 2893 W. Sullivan Ranch Rd., Clarkdale
AZ 86324; [email protected]; www.eidefineart.com;
928-634-8695; 928-282-4328. Primarily exhibiting
contemporary ceramics; sculptural, functional, and
figurative works; representing Donald Bendel, Gary
Brown, Verne Funk, Jim Leedy, Don Reitz, Tony
Staroska, Victor Spinski, Ted Adler, Jason Hess
and Yukio Yamamoto. 6 clay exhibitions per year; 3
exhibitions including clay per year.
The Verde Gallery, Verde Valley Campus, Yavapai
College, 601 Black Hills Dr., Clarkdale AZ
86324; [email protected]; 928-649-5479;
www.yc.edu/content/artgallery/default.htm. Primarily
exhibiting historical and contemporary ceramics;
functional, sculptural, figurative, and installation
works; representing 2 clay artists; Virginia Pates and
David Woof; 2 clay exhibitions per year; 3 exhibitions
Northern Arizona University Art Museum, 321 W.
McMullen Cir., Flagstaff AZ 86011; 928-523-3471;
[email protected]; www.nau.edu/artmuseum.
Primarily exhibiting contemporary ceramics;
functional and sculptural works; 2 clay exhibitions
per year; 3 exhibitions including clay per year.
Mesa Arts Center, 1 E. Main St., Mesa AZ 85201;
[email protected]; 480-644-6560;
www.mesaartscenter.com. Primarily exhibiting
contemporary ceramics; 1–3 clay exhibitions per year.
King Galleries of Scottsdale, 7100 Main St., #1,
Scottsdale AZ 85251; [email protected];
www.kinggalleries.com; 480-481-0187. Specializing
in Native American Indian ceramic artwork.
LKG Contemporary, 4223 N. Marshall Way,
Scottsdale AZ 85251; [email protected];
480-945-1209; www.leonakinggallery.com. Primarily
exhibiting contemporary ceramics; multimedia.
Paul Scott Gallery, 7173 East Main St., Scottsdale
AZ 85251; [email protected];
www.paulscottgallery.com; 480-874-3000. Primarily
exhibiting contemporary ceramics; representing 1
clay artist; Mark Chatterley.
Udinotti Gallery, 4215 N. Marshall Way, Scottsdale
AZ 85251; [email protected];
www.udinottigallery.com; 480-946-7056. Primarily
exhibiting contemporary ceramics; sculptural works;
representing Rudy Autio, Stephen DeStaebler, Gary
Grooters, Brian Harper, Don Reitz, John Toki, Wanxin
Zhang, and Agnese Udinotti; 2 clay exhibitions per
year; 4 exhibitions including clay per year.
ASU Art Museum Ceramics Research Center,
Arizona State University, Mill Ave. and Tenth St.,
Tempe AZ 85287-2911; [email protected];
asuartmuseum.asu.edu/ceramicsresearchcenter;
ceramics; functional and sculptural works; American
and British ceramics. Permanent collection of more
than 4000 pieces of American and British ceramics,
including works by Robert Arneson, Viola Frey, Jun
Kaneko, Maria Martinez, Lucie Rie, Adrian Saxe,
Toshiko Takaezu, Akio Takamori, Peter Voulkos, and
Kurt Weiser; 4–6 exhibitions per year; representing
2000 clay artists; 4–6 clay exhibitions per year;
8 exhibitions including clay per year. Permanent
collection of more than 4000 pieces of American
and British ceramics.
Obsidian Gallery, 4320 N. Campbell Ave., #130,
Tucson AZ 85718; [email protected];
www.obsidian-gallery.com; 520-577-3598. Primarily
58
october 2011
sculptural, and figurative works; representing 20
clay artists. 3 clay exhibitions per year.
Romero House Potters / Tucson Museum of
Art, 140 N. Main, Tucson AZ 85701; 520624-2333; [email protected];
www.tucsonmuseumofart.org. Primarily exhibiting
contemporary ceramics; functional, sculptural,
and figurative works; representing 19 clay artists.
2 clay exhibitions per year; 2 exhibitions including
clay per year.
Sabino Stoneware Pottery, 1019 N. Jacobus Ave.,
Tucson AZ 85705; [email protected];
www.sabinopottery.com; 520 624-5201. Primarily
sculptural, and figurative works; United States;
representing 1 clay artist; Janet K. Burner; 4 clay
exhibitions per year; 4 exhibitions including clay
per year.
Arkansas
ART, 3711 Lehman Dr., Rogers, AR 72758,
Bentonville AR 72712; [email protected];
479-273-0668; www.artbybeckychristenson.com.
representing 1 clay artist; Becky Christenson; 2
clay exhibitions per year; 1 exhibition including
clay per year.
The Gallery at Terra Studios, 12103 Hazel Valley Rd.,
Fayetteville AR 72701; [email protected];
www.terrastudios.com; 479-643-3314. Primarily
exhibiting contemporary ceramics; functional and
sculptural works; representing 35 clay artists. 3–4
clay exhibitions per year.
California
Santa Cruz Mountains Art Center, 9341 Mill St., Ben
Lomond CA 95005; [email protected];
www.mountainartcenter.org; 831-336-3513. Primarily
representing 20+ clay artists. 4 clay exhibitions per
ACCI Gallery, 1652 Shattuck Ave., Berkeley
CA 94709; [email protected]; 510-8432527; www.accigallery.com. Primarily exhibiting
contemporary ceramics; California ceramics;
representing 130 clay artists. 10 clay exhibitions
per year.
The Potters’ Studio Gallery, 637 Cedar St. at 3rd,
Berkeley CA 94711; [email protected];
www.berkeleypottersstudio.com; 510-528-3286.
works; works by artists associated with the studio;
representing 6–15 clay artists. 6 clay exhibitions
per year.
TRAX Gallery, 1812 Fifth St., Berkeley CA 94710;
[email protected]; www.traxgallery.com; 510540-8729. Primarily exhibiting contemporary
ceramics; functional works; representing 17 clay
artists. 6–8 clay exhibitions per year.
Winfield Gallery, Dolores between Ocean and
Seventh, PO Box 7393, Carmel CA 93921;
[email protected]; www.winfieldgallery.com;
ceramics; representing Jillian Banks, Annette
Corcoran, Don Fritz, Beau Kvenild, Roberta Laidman,
James Lovera, Tony Marsh, Karen Shapiro, and
Betty Spindler.
Ruth Chandler Williamson Gallery, Scripps College,
1030 Columbia Ave., Claremont CA 91711;
www.scrippscollege.edu/williamson-gallery.
sculptural, functional, figurative and installation
works; representing Bengston, Kaneko, Mason,
McIntosh, Price, Soldner, Takemoto, Wood,
Woodman, and Voulkos. Permanent collection of
The Marer Collection, The Young Collection, and an
extensive collection of Asian ceramics.
John Natsoulas Gallery, 521 First St., Davis CA
95616; [email protected]; www.natsoulas.com;
530-756-3938. Primarily exhibiting historical and
figurative, and installation works; representing 20+
clay artists. 6 clay exhibitions per year; 6 exhibitions
Pence Gallery, 212 D St., Davis CA 95616;
www.pencegallery.org. Primarily exhibiting
figurative works; California art; 2 clay exhibitions per
The Artery, 207 G St., Davis CA 95616; [email protected];
530-758-8330; www.theartery.net. Primarily exhibiting
contemporary ceramics; sculptural and functional
works; California Clay Competition; representing 19
clay artists. 2–3 clay exhibitions per year.
Berning Clay Gallery, 3270 Olive Hill Rd., Fallbrook
CA 92028; [email protected];
www.berningclaygallery.com; 760-723-0870.
functional, sculptural, and figurative works;
representing 2 clay artists; Kelly Berning and Trent
Berning; 6 clay exhibitions per year.
Clay Mix, 1003 N. Abby St., Fresno CA 93701;
[email protected]; www.clay-mix.com; 559-4850065. Primarily exhibiting contemporary ceramics;
works; representing Craig Easter, Susanne French,
Gary Georger, David Hicks, Scott Jennings, Garrett
Masterson, Una Mjurka, Pat Oyama, Jim Romberg,
and Tiffany Schmierer. 6 clay exhibitions per year;
6 exhibitions including clay per year.
Art Honors Life | The Gallery at FUNERIA,
2860 Bowen St. #1, Graton CA 95444-0221;
[email protected]; www.funeria.com;
ceramics; functional, sculptural, figurative, and
installation works; new funerary urns, vessels,
reliquaries, and personal memorial art; representing
15 clay artists. 1 clay exhibition per year; 2
Gallery Eight, 7464 Girard Ave., La Jolla CA 92037;
[email protected]; 858-454-9781. Primarily
exhibiting contemporary ceramics; 1–2 clay
exhibitions per year.
Lincoln Arts & Culture Foundation, 580 6th
St., Lincoln CA 95648; [email protected];
www.lincolnarts.org; 916-645-9713. Primarily
exhibiting contemporary ceramics; Feats of Clay;
2–3 clay exhibitions per year.
Couturier Gallery, 166 N. La Brea Ave., Los
Angeles CA 90036; [email protected];
www.couturiergallery.com; 323-933-5557. Primarily
representing 5 clay artists; Rose Cabat, Susana
Espinosa, Jay Kvapil, Gertrud and Otto Natzler;
1 clay exhibition per year; 7 exhibitions including
clay per year.
Craft and Folk Art Museum, 5814 Wilshire Blvd., Los
Angeles CA 90036; [email protected]; 323-937-4230;
www.cafam.org. Primarily exhibiting contemporary
ceramics; 2 clay exhibitions per year.
del Mano Gallery, 2001 Westwood Blvd., Los
Angeles CA 90025; [email protected];
www.delmano.com; 310-441-2001. Primarily
sculptural works; representing Angela de Mott,
Donald E. Frith, Laura Peery, Biliana Popova, Cheryl
Ann Thomas, and Noi Volkov.
Edward Cella Art + Architecture, 6018 Wilshire Blvd.,
Los Angeles CA 90036; [email protected];
www.edwardcella.com; 323-525-0053. Primarily
representing 1 clay artist; 4 clay exhibitions per year;
Freehand Gallery, 8413 W. Third St., Los Angeles CA
90048; [email protected]; www.freehand.com;
ceramics; functional works; American artists;
year; 1 exhibition including clay per year.
Los Angeles County Museum of Art, 5905 Wilshire
Blvd., Los Angeles CA 90036; [email protected];
www.lacma.org; 323-857-6000. Primarily exhibiting
contemporary and historical ceramics. Permanent
ceramics collections, French Limoges, Italian
majolica, English porcelain and pottery, Southeast
Asian, Japanese porcelain, tea ceremony ware.
Mendocino Art Center, 45200 Little Lake St., Mendocino
www.mendocinoartcenter.org; 707-937-5818. Primarily
exhibiting contemporary ceramics.
(continued on page 62)
october 2011
59
60
october 2011
october 2011
61
gallery guide 2012
Inferno Gallery, 4401 San Leandro St., Oakland
CA 94601; [email protected]; 510-798-7637;
www.infernogallery.com.
ceramics ranging from Neolithic to contemporary;
representing 20+ clay artists. 1 clay exhibition per
Beatrice Wood Center for the Arts, 8560 Ojai-Santa Paula
Rd., Ojai CA 93023; [email protected];
www.beatricewood.com; 805-646-3381. Primarily
exhibiting contemporary and historical ceramics;
Permanent collection of works by Beatrice Wood.
Solomon Dubnick Gallery, 1017 25th St., Sacramento
www.sdgallery.com; 916-444-3868. Primarily
Massarella’s Firehouse Pottery, Gallery & Clay
Studio, 109 S. Montgomery St., Ojai CA 93023;
www.firehouse-pottery.com. Primarily exhibiting
contemporary ceramics; representing 12 clay artists;
Elaine Coleman, Tom Coleman, and Frank Massarella.
Xiem Gallery, 1563 N. Lake Ave, Pasadena CA 91104;
[email protected]; www.xiemclaycenter.com;
ceramics; functional, sculptural, and figurative works;
established and emerging local artists; representing
30 clay artists. 2 clay exhibitions per year.
Earthsea Pottery, 1130 Pine St., Paso Robles
http://earthseapottery.com; 805-927-8447. Primarily
sculptural works; representing 2 clay artists; Michael
Miller and Peggy Vrana; 2 clay exhibitions per year;
American Museum of Ceramic Art, 340 S. Garey
Ave., Pomona CA 91766; [email protected];
www.ceramicmuseum.org; 909-865-3146. Primarily
functional and sculptural works; presenting,
collecting, and preserving examples of significant,
world-wide ceramic achievements, from ancient
times to the present. Representing 20+ clay artists.
5 clay exhibitions per year; 1 exhibition including
clay per year.
Armstrong’s Gallery, 150 E. 3rd St., Pomona CA
91766; [email protected]; 909-6236464; www.armstronggallery.net. Primarily exhibiting
contemporary ceramics; functional and sculptural
works; tea bowls, tea pots; representing Fong Choo,
Tom Coleman, Elaine Coleman, Phil Cornelius, Glenn
Grishkoff, Steven Hill, Patrick Horsley, Yoshiro Ikeda,
Don Reitz, Porntip Sanvanich, and William Waters.
6 clay exhibitions per year.
Red Bluff Art Gallery, 601 Walnut St., Red Bluff
www.RedBluffArtGallery.com; 530-529-1332.
works; representing 6 clay artists; Veronica “V”
Carrel, Jason Laney, Jay Murphy, Bruce Ross, Linda
Ross, and Lisa Thompson; 6 clay exhibitions per
The Main Gallery, 1018 Main St., Redwood
City CA 94061; [email protected];
www.themaingallery.org; 650-701-1018. Primarily
clay artists; Pixie Couch, Doris Fischer-Colbrie, Nina
Koepcke, Susan Wolf, and Susan Yamagouchi; 2
clay exhibitions per year; 6 exhibitions including
clay per year.
Zask Gallery, 550 Deep Valley Dr., Ste. 151,
Rolling Hills Estates CA 90274; [email protected];
www.pszaskgallery.com; 310-429-0973. Primarily
exhibiting contemporary ceramics; sculptural,
figurative, installation, and some functional works;
Emphasis on ceramic art, sculpture, and paintings
that explore the senses and the environment.
Representing 10 clay artists; MC Armstrong, Patrick
Crabb, Susan Elizalde-Holler, Lynn Haggard, Seth
Kaufman, Carolyn La Liberte, Janet Neuwalder,
Heide Ulbrich, Tracey Weiss, Jenchi Wu, and Peggy
Zask; 10 exhibitions including clay per year.
Blue Line Gallery, 405 Vernon St., Roseville CA 95678;
[email protected]; www.rosevillearts.org;
installation works; representing 20+ clay artists. 1
clay exhibition per year; 18 exhibitions including
clay per year.
Crocker Art Museum, 216 O St., Sacramento CA
95814; [email protected]; 916-808-7000;
www.crockerartmuseum.org. Primarily exhibiting
historical ceramics; functional works; international
62
october 2011
G C R Ceramic Design, 114 E. Lobos Marinos2674,
San Clemente CA 92674; [email protected];
http://gcrceramic.blogspot.com; 949-370-4319.
sculptural works; representing 1 clay artist; 2 clay
per year.
Mingei International Museum, Balboa Park, 1439 El
Prado, San Diego CA 92101; [email protected];
www.mingei.org; 619-239-0003. Primarily exhibiting
contemporary and historical ceramics; ongoing
multimedia exhibitions including clay.
San Diego Sculptors Guild and Gallery, 1770
Village Pl., Studio #36, San Diego CA 92101;
www.sandiegosculptorsguild.com. Primarily
representing 8 clay artists; Lindsay Dawkins, Sergery
Gornuahkin, Vikki Kennedy, Paul Lotz, Mari Page,
Patricia Palenshat, Gale Pruitt, Bill Riely, Sandra
Segovia, and Debora Sorenson; 12 clay exhibitions
Braunstein/Quay Gallery, 430 Clementina St.,
San Francisco CA 94103; [email protected];
www.braunsteinquay.com; 415-278-9850. Primarily
exhibiting contemporary ceramics; sculptural and
figurative works; representing Robert Brady, Bean
Finneran, Richard Shaw, Peter Voulkos, and Susan
York. 3 clay exhibitions per year.
Busacca Gallery, 2010 Hyde St., San Francisco
CA 94109; [email protected]; www.
busaccagallery.com; 415-776-0104. Primarily
works; 1 clay exhibition per year; 1 exhibition
de Young Museum, 50 Hagiwara Tea Garden Dr.,
www.deyoung.famsf.org; 415-750-3600. Primarily
exhibiting contemporary and historical ceramics.
Permanent collection of 18th–21st century work from
Africa, Central America, Andean cultures, Mayan
pottery, and pre-Columbia terra cotta.
Museum of Craft and Folk Art, 51 Yerba Buena
Ln., San Francisco CA 94103; [email protected];
www.mocfa.org; 415-227-4888. Primarily exhibiting
contemporary ceramics; traditional and culturespecific ceramics.
Museum of Craft+Design, 130 Bush St., Fl. 5,
San Francisco CA 94104; [email protected]; 415773-0303; www.sfmcd.org. Primarily exhibiting
contemporary ceramics.
Rena Bransten Gallery, 77 Geary St., San Francisco
www.renabranstengallery.com; 415-982-3292.
sculptural and figurative works; representing 5 clay
artists; John Bankston, Viola Frey, Dennis Gallagher,
Ian McDonald, and Ron Nagle; 2–3 clay exhibitions
Legion of Honor, 100 34th Ave., Lincoln Park,
www.legionofhonor.famsf.org; 415-750-3600.
Primarily exhibiting historical ceramics; functional,
sculptural, and figurative works. Permanent
collection, 18th century English and continental
porcelain, ancient pottery, vessels and figures;
Eddie Rhodes Gallery, Contra Costa College,
2600 Mission Bell Dr., San Pablo CA 94806;
http://contracosta.edu/legacycontent/Art/
EddieRhodesGallery/index.html; 510-235-7800
ext.4801. Primarily exhibiting contemporary
ceramics; functional, sculptural, and figurative
works; 3 clay exhibitions per year; 1 exhibition
The Myers Gallery at Muddy’s Studio, 2610 S. Halladay
St., Santa Ana CA 92705; [email protected];
www.muddysgallery.com; 714-641-4077.
TAG Gallery, 2525 Michigan Ave., Santa Monica
CA 90404; [email protected]; www.taggallery.net;
ceramics; sculptural and figurative works;
representing 9 clay artists; Katie Crown, Sue Keane,
Pat Doede Klowden, Darlyn Susan Lee, Camey
McGilvray, Joe Pinkelman, Anne Ramis, Della Rolle,
and Joan Vaupen; 4 clay exhibitions per year; 2
Frank Lloyd Gallery, 2525 Michigan Ave. B5B,
Santa Monica CA 90404; [email protected];
www.franklloyd.com; 310-264-3866. Primarily
exhibiting contemporary ceramics; ceramics from
England, Japan, Mexico, The Netherlands, and the
United States; representing 30 clay artists. 10 clay
A New Leaf Gallery | Sculpturesite, 23588 Arnold Dr.
(Hwy 121), Sonoma CA 95476; [email protected];
707-933-1300; www.sculpturesite.com. Primarily
figurative works; representing Jane Burton, Mark
Chatterley, Kristin Gudjonsdottir, Susannah Israel,
John Toki, and Kathy Venter. 6 exhibitions including
clay per year.
LH Horton Jr Gallery, San Joaquin Delta
College, 5151 Pacific Ave., Stockton CA 95207;
http://gallery.deltacollege.edu. Primarily exhibiting
clay artists. 1 clay exhibition per year; 3 exhibitions
L.A. Louver, 45 N. Venice Blvd., Venice CA 90291;
[email protected]; www.lalouver.com; 310-822-4955.
Colorado
Arvada Ceramic Arts Guild, 5870 Olde Wadsworth
Blvd., Arvada CO 80003; [email protected];
www.arvadaceramicarts.org; 303-378-3055. Primarily
sculptural works; representing 20 clay artists. 3 clay
Harvey Meadows Gallery, 0133 Prospector Rd., Ste.
4114A, Aspen CO 81611; [email protected];
www.harveymeadows.com; 970-920-7721. Primarily
sculptural, and figurative works; 8 clay exhibitions
per year.
Boulder Arts & Crafts Gallery, 1421 Pearl St.,
Boulder CO 80302; [email protected];
www.boulderartsandcrafts.com; 303-443-3683.
contemporary American arts and crafts; representing
20+ clay artists. 12 clay exhibitions per year; 5
Hibberd McGrath Gallery, 101 North
Main St., Breckenridge CO 80424; 970453-6391; [email protected];
www.hibberdmcgrath.com. Primarily exhibiting
works; contemporary American ceramics;
representing 12 clay artists. 4 clay exhibitions per
Carbondale Clay Center, 135 Main St.,
Carbondale CO 81623; [email protected];
www.carbondaleclay.org; 970-963-2529. Primarily
sculptural works; representing 25 clay artists. 11
clay exhibitions per year; 1 exhibition including
clay per year.
Art Students League of Denver, 200 Grant St.,
Denver CO 80203; [email protected];
www.asld.org; 303-778-6990. Primarily exhibiting
1 clay exhibition per year; 5 exhibitions including
clay per year.
Artists on Santa Fe, 747 Santa Fe Dr.,
Denver CO 80204; [email protected];
www.artistsonsantafe.com; 303-573-5903. Primarily
exhibiting contemporary ceramics; functional
and sculptural works; representing 5 clay artists;
Connie Christensen, Macy Dorf, Kim Dufford, James
Garnett, and Lamecia Landrum; 12 clay exhibitions
per year; 1 exhibition including clay per year.
Plinth Gallery, 3520 Brighton Blvd., Denver CO 80216;
[email protected]; www.plinthgallery.com;
303-295-0717; 303-909-5488. Primarily exhibiting
october 2011
63
64
october 2011
C UP
the
intimate
object
Vii
N O V E M B E R
1 – 3 0
O N E X H I B I T
2 0 11
AT
Charlie Cummings Galler y
c l a y l i n k . c o m
october 2011
65
works; sculptural vessels; representing 12 clay
gallery guide 2012
Spark Gallery, 900 Santa Fe Dr., Denver CO 80204;
www.sparkgallery.com; 720-889-2200. Primarily
representing Judith Cohn and Meagen Svendsen.
clay per year.
Vertigo Art Space, 960 Santa Fe Dr., Denver
CO 80204; [email protected];
www.vertigoartspace.com; 303-573-8378. Primarily
installation works; representing Anders Ruhwald.
clay per year.
The Evergreen Gallery, 28195 Hwy 74, Evergreen
CO 80439; [email protected];
www.theevergreengallery.com; 303-674-4871.
functional and sculptural works; Colorado ceramics;
Shy Rabbit Contemporary Arts: Gallery, Studio &
Workshops, 333 Bastille Dr., Pagosa Springs CO
81147; [email protected]; www.shyrabbit.com;
representing Randy Au, D. Michael Coffee, Patrick
Shia Crabb, Hiroe Hanazono, Jason Hess, Larry
Phan, Frank Saliani, Steven Schaeffer, and Brad
Schwieger. 4 clay exhibitions per year; 6 exhibitions
Anderson Ranch Arts Center, 5263 Owl Creek,
Snowmass Village CO 81615; 970-9233181 x216; [email protected];
www.andersonranch.org.
Connecticut
Brookfield Craft Center, 286 Whisconier Rd.,
Route 25, Brookfield CT 06804-0122; 203775-4526; [email protected];
www.brookfieldcraftcenter.org.
Creamery Gallery, Canton Clay Works llc.,
150 Cherry Brook Rd., Canton CT 06019;
www.cantonclayworks.com. Primarily exhibiting
contemporary ceramics; representing 75 clay artists.
Wesleyan Potters Gallery Shop, 350 S. Main St.,
Middletown CT 06457; wesleyan.potters@snet.
net; www.wesleyanpotters.com; 860-344-0039.
functional and sculptural works; representing 80
clay artists; 8 clay exhibitions per year; 2 exhibitions
including clay per year. Permanent collection of
donated works from artists.
District of Columbia
Arthur M. Sackler Gallery, Smithsonian Institution,
1000 Independence Ave. SW, Washington DC
20013-7012; [email protected]; www.asia.si.edu;
202-633-1000. Permanent collection of Japanese
porcelain, near Eastern and Southeast Asian ceramics.
cross mackenzie ceramic arts, 2026 R St. NW,
Washington DC 20007; [email protected];
202-333-7970; www.crossmackenzie.com. Primarily
exhibiting contemporary ceramics; representing
David Hicks, Tamara Laird, and Walter McConnell.
Freer Gallery of Art, Smithsonian Institution,
Jefferson Dr. at 12th St. SW, Washington DC
20560; [email protected]; www.asia.si.edu; 202-6331000. Permanent collection of Asian, Iranian, Iraqi,
Japanese, Korean, Syrian, and Turkish ceramics.
International Arts and Artists, 9 Hillyer Ct., NW,
Washington DC 20008; [email protected];
http://artsandartists.org; 202-338-0680.
Renwick Gallery of the Smithsonian American Art
Museum, Pennsylvania Ave. at 17 St., NW, Washington
DC 20006; [email protected]; 202-6331000; www.americanart.si.edu. Primarily exhibiting
contemporary and historical ceramics; functional
and sculptural works; American contemporary crafts
and decorative arts; representing 400+ clay artists;
2 exhibitions including clay per year. Permanent
collection of clay, glass, metal, fiber, wood, and
mixed media by 20th–21st century American artists.
66
october 2011
Florida
Clay and Paper, Gallery of Art, 362 Main St.,
Dunedin FL 34698; [email protected];
www.claypaper.com; 727-736-0934. Primarily
exhibiting contemporary ceramics; functional works;
MIY Ceramics & Glass Studio, 723 S. 21 Ave.,
Hollywood FL 33020; [email protected];
www.miyceramics.com; 954-927-7300. Primarily
clay per year.
Honest Works Island Pottery Co., 928 B Truman
Ave., Key West FL 33040; [email protected];
www.keywestpottery.com; 419-308-9221. Primarily
representing 2 clay artists; Kelly Lever and Adam
Russell; 1 clay exhibition per year; 1 exhibition
Ceramic League of Miami Gallery, 8873 SW
129th St., Miami FL 33176-5918; [email protected];
www.ceramicleaguemiami.org; 305-233-2404.
works; representing 19 clay artists. 4 clay exhibitions
Rosen Gallery & Studios, North Line Plaza, 2172 J &
C Blvd., Naples FL 34109; [email protected]; 239821-1061; www.rosenraku.com. Primarily exhibiting
works; representing Alexandra McCurdy, Gabrielle
Nappo, and Richard W. Rosen. 2 clay exhibitions per
Craftsman House Gallery, 2955 Central Ave., St.
Petersburg FL 33713; [email protected];
www.craftsmanhousegallery.com; 727-323-2787.
clay artists; Jennifer Allen, Posey Bacopoulos, Elaine
Coleman, Tom Coleman, Marty Fielding, Susan
Filly, Peter Karner, Meira Mathison, and Gay Smith;
clay per year.
Florida Craftsmen Gallery, 501 Central Ave., St.
www.floridacraftsmen.net; 727-821-7391. Primarily
Florida artists; representing 20+ clay artists. 5 clay
per year.
Mindy Solomon Gallery, 124 2nd Ave. NE, St.
www.mindysolomon.com; 727-502-0852. Primarily
sculptural, and figurative works; representing 20+
Cakewalk Artist Gallery, 1114 Central Ave. N.,
St.Petersburg FL 33705; [email protected];
www.cakewalkcoop.com; 727-825-3700. Primarily
representing 5 clay artists; Laura Irmis, Rich
Meredith, Cristina Williams, Don Williams, and Lyn
van Voorst; 2 clay exhibitions per year; 12 exhibitions
Charlie Cummings Gallery (online only);
[email protected]; www.claylink.com; 352-3592015. Primarily exhibiting contemporary ceramics;
functional works; representing 40 clay artists. 3–5
Georgia
Georgia Museum of Art, 90 Carlton St., Athens GA
30606; www.uga.edu/gamuseum; 706-542-4662.
Primarily exhibiting historical and contemporary
ceramics; sculptural and functional works; Georgia
and the Southeast; 4 clay exhibitions per year; 4
The Gallery @ Good Dirt, 510B N. Thomas St.,
Athens GA 30601; [email protected];
www.gooddirt.net; 706-355-3161. Primarily exhibiting
works; Georgia artists; representing 50 clay artists.
Signature Shop & Gallery, 3267 Roswell Rd.,
Atlanta GA 30305; [email protected];
www.thesignatureshop.com; 404-237-4426. Primarily
clay artists. 5 clay exhibitions per year; 1 exhibition
MudFire Clayworks & Gallery, 175 Laredo Dr., Decatur
GA 30030; [email protected]; www.mudfire.com;
ceramics; functional works; contemporary studio
pottery; representing Mary Briggs, Kyle Carpenter,
Diana Fayt, Kathy King, Shadow May, Kristen Kieffer,
Ronan Peterson, Ron Philbeck, and Tom Spleth. 11
The Hambidge Center for Creative Arts & Sciences,
105 Hambidge Ct., Rabun Gap GA 30568;
[email protected]; www.hambidge.org; 706-7467324. Primarily exhibiting contemporary ceramics;
functional and sculptural works; representing 25 clay
artists. 3 clay exhibitions per year.
Roswell Art Center West Gallery, 1355 Woodstock Rd.,
Roswell GA 30075; [email protected];
www.roswellclaycollective.com; 770-641-3990.
functional, sculptural, and figurative works; 8 clay
per year.
Folk Pottery Museum of Northeast Georgia, 283
Hwy. 255 N., Sautee Nacoochee Center, Sautee
Nacoochee GA 30571; www.folkpotterymuseum.com;
works; work from four pottery centers in Northeast
Georgia from 1820–present; representing 20+
clay artists; 2 clay exhibitions per year. Permanent
collection of over 200 pieces.
Idaho
The Art Spirit Gallery, 415 Sherman Ave., Coeur
d’Alene ID 83814; [email protected];
www.theartspiritgallery.com; 208-765-6006. Primarily
sculptural works; representing Frank Boyden,
Josh Deweese, Gina Freuen, Terry Gieber, Glenn
Grishkoff, Steve Sauer, Beth Cavener Stichter, and
Al Tennant. 2 clay exhibitions per year; 4 exhibitions
Boulder Mountain Clay and Art Gallery, 491 Tenth St.,
A10, Ketchum ID 83340; [email protected];
www.bouldermtnclay.com; 208 726 0773. Primarily
sculptural works; local clay artists, guest workshop
artists, and Northwest artists; representing 14 clay
artists, including Michael Conger, Jo Lowe, Judi
Nickelson, Julie Singer, Lauren Street, and Susan
Ward; 6 clay exhibitions per year; 1 exhibition
Illinois
Parkland College Art Gallery, 2400 W Bradley Ave,
Champaign IL 61821; www.parkland.edu/gallery;
installation works; representing 3 clay artists; Louis
Ballard, Chris Berti, and Laura O’Donnell; 1 clay
exhibition per year; 3 exhibitions including clay
per year.
A nn N athan Gal l ery, 212 W. Superi or St.,
Chicago IL 60654; [email protected];
www.annnathangallery.com; 312-664-6622. Primarily
Pavel Amromin, Cristina Cordova, Gerard Ferrari,
Krista Grecco, Michael Gross, Paulene Hughes,
Anne Potter, James Tyler, and Jerilyn Virden. 1–2
Douglas Dawson Gallery, 400 N. Morgan St.,
www.douglasdawson.com; 312-226-7975. Primarily
exhibiting ancient and historical non-Western
ceramics; functional and figurative works; Focus
on pre-Columbian and African, also exhibit
ancient Southeast Asian and Japanese ceramics;
representing Michael Jones, Richard Milgrim. 4 clay
Dubhe Carreño Gallery, 118 N. Peoria St. 2nd Fl.,
Chicago IL 60607; info@dubhecarrenogallery.
com; www.dubhecarrenogallery.com; 312-6663150. Primarily exhibiting contemporary ceramics;
SMOOTH
& SMOKY
Sept 16 – Oct 16, 2011
curated by
Judith Motzkin
Jane Perryman
Susan Elena Esquivel
Gabriele Koch
Simcha Even-Chen
Judith Motzkin
ARTISTS
Susan Elena Esquivel (US)
Simcha Even-Chen (Israel)
Vicki Hardin (US)
Gabriele Koch (England)
Dick Lehman (US)
Dick Lehman
Irina Okula
Judith Motzkin (US)
Irina Okula (US)
Jane Perryman (England)
Roland Summer (Austria)
Pao-Fei Yang (US)
Roland Summer
Vicki Hardin
71 Thayer Street
Boston, MA 02118
617.426.1950
VesselsGaller y.com
Pao-Fei Yang
october 2011
67
68
october 2011
october 2011
69
gallery guide 2012
Lillstreet Art Center, 4401 N. Ravenswood Ave.,
www.lillstreet.com; 773-769-4226. Primarily
sculptural, and installation works; representing 20+
Perimeter Gallery, 210 W. Superior St., Chicago IL
60654; [email protected];
www.perimetergallery.com; 312-266-9473. Primarily
exhibiting contemporary ceramics; 6 clay exhibitions
per year.
Evanston Art Center, 2603 Sheridan Rd., Evanston
IL 60201; www.evanstonartcenter.org; 847-4755300. Primarily exhibiting contemporary ceramics;
Neil Estrick Gallery, LLC, 888 E. Belvidere Rd., Ste.
101, Grayslake IL 60030; [email protected];
www.neilestrickgallery.com; 847-223-1807. Primarily
works; representing 1 clay artist; Neil Estrick; 2 clay
Robert T. Wright Gallery, College of Lake County,
19351 W. Washington St., Grayslake IL 60030;
gallery.clcillinois.edu; 847-543-2240.
Terra Incognito Studios and Gallery, 246 Chicago Ave.,
Oak Park IL 60302; [email protected];
www.terraincognitostudios.com; 708-383-6228.
functional works; representing 35 clay artists. 10
Cinema Gallery, 120 W. Main St., Urbana IL
61801-2715; [email protected]; 217367-3711; www.cinemagallery.cc. Primarily
exhibiting contemporary ceramics; figurative works;
Champaign–Urbana artists; representing Louis
Ballard, Chris Berti, Jacob Foran, Clara Hoag, Ron
Kovatch, Swain Naragon, Jeffrey Nichols, Laura
O’Donnell, Catherine Wiesener, and Rimas VisGirda.
2–3 clay exhibitions per year; 8 exhibitions including
clay per year.
ClaySpace, 28W210 Warrenville Rd., Warrenville
IL 60504; [email protected]; www.clayspace.net;
ceramics; functional and sculptural works; 12 clay
Jailhouse Potters, 13804 Pleasant Valley Rd.,
Woodstock IL 60098; [email protected];
www.jailhousepotters.com; 815-337-9487.
The Nevica Project (online only);
www.theNEVICAproject.com. Primarily exhibiting
historical and contemporary ceramics; functional,
sculptural, and figurative works; representing Rudy
Autio, Trey Hill, Brian Kakas, Warren MacKenzie, Ryan
Mitchell, Ken Price, Tim Rowan, Jay Strommen, Akio
Takamori, and Peter Voulkos.
Indiana
University Art Gallery, Indiana State University
Department of Art, Fine Arts 108, Terre Haute IN
47809; [email protected]; 812-237-3720;
www.indstate.edu/artgallery. Primarily exhibiting
Iowa
Luther College Fine Arts Collection, Preus Library, 700
College Dr., Decorah IA 52101; [email protected];
http://finearts.luther.edu; 563-387-1328. Primarily
exhibiting historical ceramics; 1–2 clay exhibitions
per year. Permanent collection of Marguerite
Wildenhain and Pond Farm, pre-Columbian ceramics
from Mexico, Panama, and Peru.
AKAR Design, 257 E. Iowa Ave., Iowa City IA 52240;
[email protected]; www.akardesign.com;
ceramics; functional works; representing 20+ clay
artists. 12 clay exhibitions per year; 12 exhibitions
University of Iowa Museum of Art, 1375 Highway
One W., 1840 Studio Arts Bldg., Iowa City IA
52242; [email protected]; http://uima.uiowa.edu;
70
october 2011
works; contemporay American and European
Ceramics; representing 20+ clay artists. 1 clay
per year.
Kansas
The Dolphin Song, 102 S. Elm St., Gardner KS
66030; [email protected]; 913-856-7513;
www.thedolphinsong.com. Primarily exhibiting
works; representing Cathy Broski and Danny
Meisinger. 2 clay exhibitions per year.
Strecker-Nelson Gallery, 406 1/2 Poyntz Ave.,
Manhattan KS 66502-6039; [email protected];
www.strecker-nelsongallery.com; 785-537-2099.
Primarily exhibiting contemporary ceramics; representing 25 clay artists. 6 clay exhibitions per year.
Alice C. Sabatini Gallery, Topeka and Shawnee
County Public Library, 1515 S.W. Tenth Ave., Topeka
KS 66604; [email protected]; www.tscpl.org/gallery;
American ceramics; representing 350 clay artists.
Permanent collection of Kansas artists, contemporary
American ceramics, African and Chinese decorative
arts, Art Nouveau glass and ceramics.
ShiftSpace Gallery, Wichita State University, 800 3rd
St., Wichita KS 67202; [email protected];
www.shiftspace.blogs.com.
Wichita Pottery, 300 N. Meridian, Wichita KS 67203;
[email protected]; www.wichitapottery.com;
works; United States artists; representing 4 clay
artists; Jill Houtz, Sheila O’Brien, Eric Rose, and
Richard VanSickle; 4 clay exhibitions per year; 1
Kentucky
Kentucky Artisan Center at Berea, 200 Artisan
Way, Berea KY 40403; [email protected];
www.kentuckyartisancenter.ky.gov; 859-9855448. Primarily exhibiting contemporary ceramics;
representing over 85 Kentucky ceramic artists; 1
clay exhibition per year; 1–2 exhibitions including
clay per year. Permanent collection of historical
works including ceramics.
Kentucky Museum of Art and Craft, 715 W. Main St.,
Louisville KY 40202; [email protected];
www.kentuckyarts.org; 502-589-0102. Primarily
Louisiana
Pottery Alley, 205 1/2 W. Vermilion St., Lafayette
LA 70501; [email protected]; 337-2674453; www.potteryalley.com. Primarily exhibiting
contemporary ceramics; functional, sculptural, and
figurative works; representing 20+ clay artists. 12
clay per year.
Carol Robinson Gallery, 840 Napolean Ave., New
Orleans LA 70115; [email protected];
www.carolrobinsongallery.com; 504-895-6130.
representing Tom Brewer, Ron Dale, Lisa Tinka
Jordy, Bernard Mattox, Bryon Myrick, John Oles, and
Kenneth Standhardt. 1–2 clay exhibitions per year.
Newcomb Art Gallery at Tulane University,
Woldenberg Art Center, New Orleans LA
70118; 504-865-5328; [email protected];
www.newcombartgallery.tulane.edu. Primarily
exhibiting historical ceramics; functional works;
Newcomb pottery; 2 clay exhibitions per year; 2
Maine
Dowstudio Gallery, 19 Dow Rd., Deer Isle ME
04627; 207-348-6498; [email protected];
www.dowstudiodeerisle.com. Primarily exhibiting
works; representing 20+ clay artists. 6 clay
per year.
Richard Boyd Pottery, 15 Epps St., Peaks Island
ME 04108; [email protected]; 207-712-1097;
www.richardboydpottery.com. Primarily exhibiting
Maine Potters Market, 376 Fore St., Portland ME
04101; 207-774-1633; [email protected];
www.mainepottersmarket.com. Primarily exhibiting
contemporary ceramics; functional works;
St. George Pottery, 1012 River Rd., St. George ME
04860; [email protected]; 207-372-6464;
www.stgeorgepottery.com. Primarily exhibiting
contemporary ceramics; functional works; North
American contemporary ceramics; representing
Susan Dewsnap, Tina Gebhart, Ryan Greenheck,
Louise Harter, George Pearlman, and Rob
Sutherland. 7 clay exhibitions per year.
Maryland
Baltimore Clayworks, 5707 Smith Ave., Baltimore
MD 21209; [email protected];
www.baltimoreclayworks.org; 410-578-1919 ext.18.
functional and sculptural works; representing 20+
Waverly Street Gallery, 4600 East West Hwy.,
Bethesda MD 20814; [email protected]; 301951-9441; www.waverlystreetgallery.com. Primarily
sculptural works; representing 3 clay artists; Scottie
Allen, Ann Leonard, and Elisabeth Lescault; 2 clay
per year.
Hood College, 401 Rosemont Ave., Frederick
MD 21701; [email protected]; 301-696-3456;
www.hood.edu/academic/art/hodson. Primarily
functional, figurative, and installation works;
representing 20 clay artists; 7 clay exhibitions
Permanent collection of 13th–14th century South
East Asian ceramics.
Joyce Michaud Gallery, 6512B Putman Rd.,
Thurmont MD 21788; [email protected];
www.JoyceMichaudGallery.com; 301-696-3526.
Massachusetts
Keiko Gallery, 121 Charles St., Boston MA 02114;
[email protected]; www.keikogallery.com;
contemporary Japanese ceramics; representing 20+
Pucker Gallery, 171 Newbury St., Boston MA
02116; [email protected]; 617-2679473; www.puckergallery.com. Primarily exhibiting
historical and contemporary ceramics; functional
Society of Arts and Crafts, 175 Newbury St., Boston
MA 02116; [email protected];
www.societyofcrafts.org; 617-266-1810. Primarily
sculptural works; American artists; representing
60 clay artists. 1–2 clay exhibitions per year; 1-2
The Society of Arts and Crafts, 175 Newbury
St., Boston MA 02116; [email protected];
www.craftboston.org; 617-266-1819. Primarily
sculptural works; American artists; representing
60 clay artists. 1–2 clay exhibitions per year; 1–2
Vessels Gallery, 450 Harrison Ave., #71, Boston
MA 02118; [email protected]; 617-426-1950;
www.vesselsgallery.com. Primarily exhibiting
works; emerging and established ceramic artists
from the US, Europe, and Asia; representing 40
clay artists; 6 clay exhibitions per year. Permanent
collection of Kamm Teapot Collection.
Fuller Craft Museum, 455 Oak St., Brockton MA
02301; [email protected]; www.fullercraft.org;
october 2011
71
72
october 2011
october 2011
73
gallery guide 2012
Mobilia Gallery, 358 Huron Ave., Cambridge MA
02138; [email protected]; 617-876-2109;
www.mobilia-gallery.com. Primarily exhibiting
contemporary ceramics; sculptural and installation
works; representing 8 clay artists; George Bowes,
Pippin Drysdale, Jack Earl, Dorothy Feibleman,
Elizabeth Fritsch, Tom Rippon, Richard Shaw, and
Leslie Sills; 2 clay exhibitions per year; 6 exhibitions
Mudflat Gallery, 36 White St, Porter Square Shopping
Ctr., Cambridge MA 02140; gallery@mudflat.
org; www.mudflat.org; 617-491-7976. Primarily
sculptural works; representing 20+ clay artists.
clay per year.
Lacoste Gallery, 25 Main St., Concord MA 01742;
[email protected]; www.lacostegallery.com;
Childs Studio Arts Gallery, 40 Railroad St., 2nd Fl., Great
Barrington MA 01230; [email protected];
www.childsstudioarts.com; 413-727-4217. Primarily
sculptural works; representing 9 clay artists; David
Bryce, Paul Chaleff, Maeve Dillon, Bob Green,
Katherine Hiersoux, Thomas Hoadley, Nancee
Meeker, and Erica Wurtz; 2 clay exhibitions per year;
Juliet Rose Gallery and Studio, 191 Reimers Rd.,
Monson MA 01057; [email protected];
www.julietrosegallery.net; 413-596-9741. Primarily
exhibiting contemporary ceramics; New England
and Jamaican ceramics; representing Juliet
Bacchas, Coleen Egan, Rick Epstein, Leonia
McIntosh, and Linda Spelko. 5 clay exhibitions
per year.
The Gallery at The Potters Shop and School, Gorse
Mill Studios, 31 Thorpe Rd., Needham MA 02494;
[email protected]; www.thepottersshop.com;
Pinch, 179 Main St., Northampton MA 01060;
[email protected]; www.pinchgallery.com;
artists; Meredith Host, Justin Rothshank, and
Three Wheel Studio; 3 clay exhibitions per year; 3
The Artisan Gallery, 162 Main St., Northampton
MA 01060; [email protected];
www.theartisangallery.com; 413-586-1942. Primarily
sculptural works; representing Abby Berkson, Tomas
Black, Megan Hart, Christy Knox, Maya Machin,
Evelyn Snyder, Chuck Stern, Sam Taylor, and Tom
White. 3 clay exhibitions per year.
Ferrin Gallery, 437 North St., Pittsfield MA 01201;
[email protected]; http://ferringallery.com;
works; wood-fired studio pottery and narrative
sculptural ceramics; representing 20+ clay artists.
clay per year.
The Krikorian Gallery, Worcester Center for
Crafts, 25 Sagamore Rd., Worcester MA 01605;
www.worcestercraftcenter.org. Primarily exhibiting
works; 5 clay exhibitions per year.
Michigan
Betsy Ratzsch Pottery, 584 Ada Dr., Ada MI
49301; [email protected]; 616-6820266; www.betsyrpottery.com. Primarily exhibiting
figurative works; contemporary American artisans
and craftmakers; representing 15 clay artists. 3
clay per year.
Clay Gallery, 335 S. Main St., Ann Arbor MI 48104;
[email protected]; www.claygallery.org;
74
october 2011
works; Michigan and Midwest artists; representing
20+ clay artists. 8 clay exhibitions per year.
Cranbrook Art Museum, 39221 Woodward
Ave., Bloomfield Hills MI 48303-0801;
248-645-3300; [email protected];
www.cranbrookart.edu/museum. Primarily exhibiting
Permanent collection of 20th century ceramics.
Off Center Gallery @ KC Clay Guild, 200 W. 74th
St., Kansas City MO 64114; www.kcclayguild.org;
works; representing 15 clay artists. 12 clay
River Gallery, 120 S. Main, Chelsea MI 48118;
www.chelsearivergallery.com. Primarily exhibiting
contemporary ceramics; multimedia; 6 clay
Red Star Studios, Belger Arts Center, 2100 Walnut St.,
Kansas City MO 64108; [email protected];
www.redstarstudios.org; 816-474-7316. Primarily
sculptural, and installation works; representing 20+
clay artists; Bowie Croisant, Tara Dawley, Calder
Kamin, and Stephanie Kantor; 10 clay exhibitions
Pewabic Pottery, 10125 E. Jefferson Ave., Detroit
MI 48214; [email protected]; www.pewabic.org;
Khnemu Studio, 6322 113th Ave., Fennville
MI 49408; [email protected];
www.khnemustudio.com; 269-236-9260. Primarily
Buckham Gallery, 134 1/2 W. Second St., Flint MI
48502; [email protected]; 810-2396233; www.buckhamgallery.org. Primarily exhibiting
contemporary ceramics; 2 clay exhibitions per year.
Sherry Leedy Contemporary Art, 2004
Baltimore Ave., Kansas City MO 64108;
www.sherryleedy.com. Primarily exhibiting
contemporary ceramics; sculptural works;
representing 10 clay artists; Rudy Autio, Cary Esser,
Misty Gamble, Chris Gustin, Jun Kaneko, Jesse
Small, George Timock, Charles Timm-Ballard, Peter
Voulkos, and Arnie Zimmerman; 6 clay exhibitions
per year.
Minnesota
Daum Museum of Contemporary Art, State
Fair Community College, 3201 W. 16th St.,
Sedalia MO 65301; [email protected];
www.daummuseum.org; 660-530-5888. Primarily
Rudy Autio, John Balistreri, Anne Currier, Jun
Kaneko, Karen Karnes, Jim Leedy, Olé Liserud,
Don Reitz, Virginia Scotchie, George Timock, and
Peter Voulkos.
Tweed Museum of Art, University of Minnesota
Duluth, 1201 Ordean Ct., Duluth MN 55812;
[email protected]; www.d.umn.edu/tma; 218726-8222. Primarily exhibiting historical and
contemporary ceramics; Glenn C. Nelson Collection
of ceramics; representing 12 clay artists.
Craft Alliance Gallery, Grand Center, 501
N. Grand Blvd., St. Louis MO 63103;
www.craftalliance.org. Primarily exhibiting
contemporary ceramics; 3–5 exhibitions including
clay per year.
Northern Clay Center, 2424 Franklin Ave. E, Minneapolis
MN 55406; [email protected]; 612339-8007; www.northernclaycenter.org. Primarily
works; representing 55–60 clay artists. 11 clay
Craft Alliance, Delmar Loop, 6640 Delmar Blvd.,
St. Louis MO 63130; [email protected];
www.craftalliance.org; 314-725-1177. Primarily
functional, and figurative works; 5 clay exhibitions
Schaller Gallery, 210 State St., St. Joseph MI
49085; [email protected]; 269-9837404; www.schallergallery.com. Primarily exhibiting
Fired Up Studios, 1701 E. Hennepin Ave., #255,
Minneapolis MN 55414; [email protected];
www.firedupstudios.com; 612-852-2787. Primarily
per year.
The Grand Hand Gallery, 619 Grand Ave., St.
Paul MN 55102; [email protected];
www.thegrandhand.com; 651-312-1122. Primarily
Wood-fired ceramics; representing 20 clay artists. 4
Mississippi
Ohr-O’Keefe Museum of Art, 386 Beach
Blvd., Biloxi MS 39530; [email protected];
www.georgeohr.org; 228-374-5547. Primarily
sculptural works; promoting and preserving Biloxi
potter George E. Ohr and the cultural heritage of the
Mississippi Gulf Coast; 3 clay exhibitions per year;
1 exhibition including clay per year.
Conner Burns Studio and Gallery, 209 Franklin
St., Natchez MS 39120; [email protected];
www.connerburns.com; 601-446-6334. Primarily
sculptural, figurative, and installations works; North
American ceramics; 2 clay exhibitions per year; 2
Natchez Clay, 101 Clifton Ave., Natchez MS 39120;
[email protected]; www.natchezclay.com;
Missouri
Centered Earth Gallery @ KC Clay Guild, 200 W. 74th
St., Kansas City MO 64114; [email protected];
www.kcclayguild.org; 816-363-1373. Primarily
Duane Reed Gallery, 4729 McPherson Ave., St.
Louis MO 63108-1918; [email protected];
www.duanereedgallery.com; 314-361-4100. Primarily
representing Rudy Autio, Bennett Bean, Christine
Federighi, Curt LaCross, Michael Lucero, and Michal
Zehavi. 3 clay exhibitions per year.
Montana
Archie Bray Foundation for the Ceramic Arts,
2915 Country Club Ave., Helena MT 59602;
[email protected]; www.archiebray.org;
figurative, and installation works; representing
The Clay Studio of Missoula, 1106 Hawthorne
St., Missoula MT 59802; 406-543-0509;
[email protected];
www.theclaystudioofmissoula.org. Primarily exhibiting
clay per year.
Red Lodge Clay Center, 123 S. Broadway, Red
Lodge MT 59068; [email protected];
www.redlodgeclaycenter.com; 406-446-3993.
Nebraska
Cooper Studio & Gallery, 1526 Silver St., Ashland
NE 68003-1848; [email protected];
www.merchantcircle.com/business/Cooper.Studio.
And.Gallery.402-944-2022. Primarily exhibiting
figurative works; representing 3 clay artists; Kim
Cooper, John Dennison, and Naomi Keller.
LUX Center for the Arts, 2601 N. 48th St., Lincoln
NE 68504; [email protected]; www.luxcenter.org;
october 2011
75
76
october 2011
october 2011
77
installation works; representing 20+ clay artists. 6
clay per year.
Nevada
gallery guide 2012
Pottery West, 5026 N. Pioneer Way, Las Vegas NV
89149; [email protected]; www.potterywest.com;
per year.
New Jersey
Lafayette Clayworks, 22 Wantage Ave., PO Box 289,
Branchville NJ 07826; [email protected];
www.lafayetteclayworks.com; 973-948-3987. Primarily
representing 3 clay artists; Iwona Brunngraber,
Pamela Madzy, and Joyce Maurus-Sullivan; 4 clay
The Art School at Old Church and Mikhail Zakin
Gallery, 561 Piermont Rd., Demarest NJ 07627;
[email protected]; www.tasoc.org; 201-767-7160.
Primarily exhibiting contemporary ceramics; 2–3
Laplaca Pottery Works, 1002 A Trenton Ave.,
Point Pleasant NJ 08742; [email protected];
www.laplacapottery.com; 732-861-2276. Primarily
functional works; representing 1 clay artist; Greg
Laplaca; 12 clay exhibitions per year; 5 exhibitions
m.t. burton gallery, 1819 N. Long Beach Blvd.,
Surf City NJ 08008; [email protected];
www.mtburtongallery.com; 609-494-0006. Primarily
New Mexico
Mariposa Gallery, 3500 Central Ave. SE, Albuquerque
NM 87106; [email protected]; 505268-6828; www.mariposa-gallery.com. Primarily
sculptural works; New Mexico artists; representing
12 clay artists; Julianne Harvey, Suzanne Kane,
and Kenyon Thomas; 3 clay exhibitions per year;
The Fisher Gallery, 1620 Central Ave., SE,
Albuquerque NM 87106; [email protected];
www.artscrawlabq.org; 505-247-1529. Primarily
clay artists; Maika and Sylvia Domney, Erin Mason,
and Beth Sailer; 12 clay exhibitions per year; 12
RottenStone Gallery, 486 SR 150, Arroyo Seco
NM 87514; [email protected]; 575776-1042. Primarily exhibiting contemporary
works; representing 8 clay artists; John Bradford,
Jana Hanka, Hillary Kane, Joe Kroenung, Michael
Prokos, and Scott Rutherford; 6 clay exhibitions per
Rift Gallery, 2249 Highway 68, Rinconada, New
Mexico, Dixon NM 87527; [email protected];
www.riftgallery.com; 505-579-9179. Primarily
sculptural, figurative, and installation works; regional
artists; 2 clay exhibitions per year; 4 exhibitions
Wannamaker Gallery, 1208 Paseo Del Pueblo Norte,
El Prado NM 87529; [email protected]; 575770-4334; www.loganwannamaker.com. Primarily
representing 12 clay artists. 2 clay exhibitions per year.
Bellas Artes, 653 Canyon Rd., Santa Fe NM
87501; [email protected]; 505-9832745; www.bellasartesgallery.com. Primarily
representing Richard Devore, Ruth Duckworth,
Shoichi Ida, and Brad Miller.
Blue Rain Gallery, 130 Lincoln Ave., Ste. C,
Santa Fe NM 87501; [email protected];
www.blueraingallery.com; 505-954-9902. Primarily
78
october 2011
figurative works; Native American and non-native
Southwest regional work; representing 10+ clay
artists; Tammy Garcia, Lisa Holt, Les Namingha,
Jody Naranjo, Al Qoyawayma, Deborah RaelBuckley, Harlan Reano, Russell Sanchez, and
Richard Zane Smith; 4 clay exhibitions per year; 25
Clark + Del Vecchio, 223 N. Guadalupe #274,
www.garthclark.com; 917-318-0768.
Jane Sauer Gallery, 652 Canyon Rd., Santa
Fe NM 87501-2722; [email protected];
www.jsauergallery.com; 505-995-8513. Primarily
representing 2 clay artists; Adrian Arleo and Irina
Zaytceva; 2 clay exhibitions per year; 1 exhibition
Patina Gallery, 131 W. Palace Ave., Santa Fe NM
87501; [email protected]; 505-986-34322;
www.patina-gallery.com.
Robert Nichols Gallery, 419 Canyon Rd., Santa
Fe NM 87501; [email protected];
www.robertnicholsgallery.com; 505-982-2145.
sculptural works; Southwestern US and Native
American ceramics; representing 12 clay artists.
clay per year.
Santa Fe Clay, 545 Camino de la Familia, Santa Fe NM
87501; [email protected]; www.santafeclay.com;
installation works; contemporary American ceramics;
representing 20+ clay artists; Chuck Aydlett, Peter
Beasecker, Meredith Brickell, Lisa Clague, Edward
Eberle, Mark Pharis, Tim Rowan, Ted Saupe, Chris
Staley, and James Tisdale; 10 clay exhibitions per
The William & Joseph Gallery, 727 Canyon Rd., Santa Fe
NM 87501; [email protected];
www.thewilliamandjosephgallery.com; 505-9829404. Primarily exhibiting contemporary ceramics;
sculptural works; representing 2 clay artists; Bradley
Bowers and Jack Charney; 1 clay exhibition per year;
Touching Stone Gallery, 539 Old Santa Fe Trail,
www.touchingstone.com; 505-988-8072. Primarily
functional and sculptural works; Japanese ceramics
by contemporary artists from major pottery centers
in Japan; representing 25 clay artists. 5–6 clay
exhibitions per year; 1–2 exhibitions including clay
per year.
New York
The Schein-Joseph International Museum of Ceramic
Art, NY State College of Ceramics at Alfred University,
Alfred NY 14802; [email protected];
http://ceramicsmuseum.alfred.edu; 607-871-2421.
Primarily exhibiting contemporary and historical
Gloria Kennedy Gallery, 28 Old Fulton St., Brooklyn
NY 11201; [email protected]; www.gkgart.com;
Chameleon Gallery, 53 Albany St., Cazenovia NY
13035; [email protected]; 315-655-3444;
www.chameleongallery.net. Primarily exhibiting
works; representing 10 clay artists; Len Eichler, Ed
Feldman, Henry and Amy Gernhardt, John Jessiman,
David MacDonald, Shawn O’Connor, Carl Shanahan,
Bill Stewart, and Daphne Verley; 2 clay exhibitions
Gandee Gallery, 7846 Main St., Fabius NY 13063;
[email protected]; www.gandeegallery.com;
315-683-9203.
gallery gen, 47-09 36th St., Long Island City
NY 11101; [email protected]; 718-3927717; www.gallerygen.com. Primarily exhibiting
Barry Friedman Ltd., 515 W. 26th St., New York
NY 10001; [email protected]; 212
239-8600; www.barryfriedmanltd.com. Primarily
sculptural, and figurative works; representing
Takahiro Kondo, David Regan, Alev Siesbye, Akio
Takamori, Tip Toland, and Kukuli Velarde. 2 clay
per year.
Cheim & Read, 547 W. 25th St., New York NY 10001;
[email protected]; www.cheimread.com; 212242-7727. Primarily exhibiting contempoary ceramics.
Claire Oliver Gallery, 513 W. 26th St., New York NY
10001; [email protected]; www.claireoliver.com;
212-929-5949.
Cocobolo Gallery, 195 Chrystie St. 402D, New
York NY 10002; [email protected];
www.cocobolodesign.com; 917-847-7846.
Dai Ichi Arts, Ltd., by appt. only, New York NY
10019; [email protected]; www.daiichiarts.com;
ceramics; Japanese and Chinese ceramics from
20th/21st century; representing 34 clay artists. 4
Jane Hartsook Gallery @ Greenwich House
Pottery, 16 Jones St., New York NY 10014;
www.greenwichhousepottery.org. Primarily
works; 7 clay exhibitions per year; 1 exhibition
Joan B. Mirviss Ltd., 39 E. 78th St., 4th Fl., New York
NY 10075; [email protected]; www.mirviss.com;
212-799-4021.
Mugi Studio, 993 Amsterdam Ave., New York
NY 10025; [email protected]; 212-8666202; www.mugipottery.com. Primarily exhibiting
Nancy Margolis Gallery, 523 W. 25th St., Ground Fl.,
New York NY 10001; [email protected];
www.nancymargolisgallery.com; 212-242-3013.
American, Asian, and European artists.
The Asia Society, 725 Park Ave., New York NY 10021;
[email protected]; www.asiasociety.org; 212-2886400. Primarily exhibiting contemporary and historical
ceramics; East and Southeast Asian ceramics.
Loveed Fine Arts, 575 Madison Ave., Ste. 1006,
www.loveedfinearts.com; 212-605-0591. Primarily
Meulensteen, 511 W. 22nd St., New York NY
10011-1109; [email protected]; 212-6336999; www.meulensteen.com. Primarily exhibiting
contemporary ceramics; representing Richard
DeVore and Betty Woodman.
Museum of Arts and Design, 2 Columbus Cir.,
www.madmuseum.org; 212-299-7777. Primarily
exhibiting contemporary ceramics; International
ceramics; 7–10 clay exhibitions per year.
Flat Iron Gallery, Inc., 105 S. Division St.,
Peekskill NY 10566; [email protected];
www.flatirongallery.qpg.com; 914-734-1894. Primarily
exhibiting contemporary ceramics; figurative and
functional works; representing 30 clay artists; Sally
Aldrich, Mark Kassis, Fred Kimmelstiel, Marlene
Ferrell Parillo, Tony Parillo, Deborah Rosenbloom,
Roberta Shapiro, Connie Sherman, Priya Tambe,
and Joel Trieger; 2–3 clay exhibitions per year; 2
New Prospect Pottery, 2646 New Prospect Rd., Pine
Bush NY 12566; [email protected];
www.newprospectpottery.com; 845-744-6787.
functional works; wood-fired, salt-glazed ceramics;
representing 4 clay artists; Lynn Isaacson, Bonnie
Rothchild, Deg Lowenberger, Flo Kaczorowski, Ron
Mabile, and Deborah Rosenbloom; 1 clay exhibition
Clay Art Center, 40 Beech St., Port Chester NY
10573; [email protected]; 914-937-2047;
www.clayartcenter.org. Primarily exhibiting
figurative, and installation works; representing
130+ clay artists; 9 clay exhibitions per year.
Permanent collection of founders, Catherine Choy,
and Henry Okomoto’s work.
october 2011
79
35th Annual Philadelphia Museum of Art
November 10-13, 2011
Preview Party on November 9th
Pennsylvania Convention Center
THE ART & DESIGN OF
EVERYDAY LIFE
See and purchase the work of 195 of the
best contemporary craft artists in the
United States. This year, 51 of the artists
are new to the show along with 25 artists
from Scotland. Proceeds of the Show
fund educational programs, acquisitions
of art and special exhibitions for the
Philadelphia Museum of Art.
215-684-7930
www.pmacraftshow.org
Presented by The Women’s Committee and
the Craft Show Committee for the benefit of the
Philadelphia Museum of Art
Work by Jonathan White
80
october 2011
october 2011
81
The SHOP at CAC, 40 Beech St., Port Chester
NY 10573; [email protected]; 914-9372047; www.clayartcenter.org. Primarily exhibiting
figurative, and installation works; functional and
decorative ceramics by CAC artists and guest artists
from across the nation. 9 clay exhibitions per year.
gallery guide 2012
Art Sites LLC, 651 W. Main St., Riverhead NY 11901;
[email protected]; www.artsitesgallery.com;
ceramics; representing Ramon Elozua, Keiji Ito,
Robin Johnson, Carol Molly Prier, Mary Roehm, John
Rohlfing, Tim Rowan, Coco Schoenberg, and Jeff
Shapiro. 2 clay exhibitions per year; 6 exhibitions
Firehouse Gallery, 713 Monroe Ave., Rochester
NY 14607; [email protected]; 585-2715183; www.geneseearts.org. Primarily exhibiting
per year.
Imagine That, 38 E. Genesee St, Skaneateles NY
13152; [email protected]; 315-6856263; www.imagineskaneateles.com. Primarily
sculptural works; representing 8-10 clay artists;
Posey Bacopolus, Ben Carter, Hank Goodman,
Conner McKissack, Jennifer Mecca, Brooke Noble,
Sarah Panzarella, Jeremy Randall, and Russel
Spillman; 4 clay exhibitions per year; 4 exhibitions
Everson Museum of Art, 401 Harrison St., Syracuse NY
13202; [email protected]; www.everson.org; 315474-6064. 2–3 clay exhibitions per year. Permanent
collection of Syracuse China Center for the Study of
American Ceramics.
Celadon Clay Art Gallery, 41 Old Mill Rd., Water
Mill NY 11963; [email protected];
www.hamptonsclayart.org; 631-726-2547. Primarily
Portage Hill Gallery, 6439 South Portage Road,
Westfield NY 14787; [email protected];
www.portagehillgallery.com; 716-326-4478. Primarily
clay artists; Audrey Kay Dowling. 1 clay exhibition
North Carolina
American Folk Art & Framing, 64 Biltmore Ave.,
Asheville NC 28801; [email protected];
www.amerifolk.com; 828-281-2134. Primarily exhibiting
contemporary ceramics; functional and figurative
works; wood-fired work and locally hand dug clay work;
representing 18 clay artists. 4 clay exhibitions per year;
Bella Vista Art Gallery, 14 Lodge St., Asheville
NC 28803; [email protected]; 828-7680246; www.BellaVistaArt.com. Primarily exhibiting
contemporary ceramics; sculptural and figurative
works; raku, and figurative sculptures; representing
8 clay artists; Lori Alcott-Fowler, Scott Haines, Terry
Hagiwara, Phil Homes, Suzanne Kane, Steve and
Becky Lloyd, Jann Welch, and Julie Wiggins; 1
clay exhibition per year; 1 exhibition including clay
per year.
Blue Spiral 1, 38 Biltmore Ave., Asheville NC
28801; [email protected]; www.bluespiral1.com;
ceramics; Southeastern ceramics; 10–12 clay
Odyssey Gallery, 238 Clingman Ave., Asheville NC
28801; [email protected]; 828-285-0210;
www.OdysseyCeramicArts.com. Primarily exhibiting
and figurative works; 5 clay exhibitions per year; 1
Crimson Laurel Gallery, 23 Crimson Laurel Way,
Bakersville NC 28705; [email protected];
www.crimsonlaurelgallery.com; 828-688-3599.
Primarily exhibiting contempoary ceramics; functional
per year.
Frank Gallery, 109 E. Franklin St., Chapel Hill NC
27514; [email protected]; www.frankisart.com;
82
october 2011
works; representing 15 clay artists. 1 clay exhibition
Lark & Key Gallery, 128 E. Park Ave., Ste. B,
Charlotte NC 28203; [email protected];
www.larkandkey.com; 704-334-4616. Primarily
sculptural works; representing 12 clay artists;
Barbara Chadwick, Julie Covington, Jennifer
Kincaid, Suze Lindsay, Kent McLaughlin, Jennifer
Mecca, Ronan Peterson, Amy Sanders, Gay Smith,
Paula Smith, and Julie Wiggins; 2 clay exhibitions per
Mint Museum of Art, 2730 Randolph Rd., Charlotte NC
28207; [email protected]; 704-3372000; www.mintmuseums.org. Permanent collection of
American art pottery and porcelain, European pottery
and porcelain, and North Carolina pottery.
Cedar Creek Gallery, 1150 Fleming Rd., Creedmoor
NC 27522; [email protected];
www.cedarcreekgallery.com; 919-528-1041. Primarily
functional, sculptural, and figurative works; American
fine crafts; representing 20+ clay artists. 1 clay
per year.
Claymakers, 705 Foster St., Durham NC 27701;
[email protected]; www.claymakers.com;
Hand in Hand Gallery, Inc., 2720 Greenville Hwy.,
Flat Rock NC 28731; [email protected];
www.handinhandgallery.com; 828-697-7719.
functional, sculptural, and figurative works; functional
work by Western NC potters; representing 10 clay
artists; Will Baker, Susan Balentine, Jeff Hamilton,
Mary Mason, Mary Mikklesen, Saundra Poces, Henry
Pope, Preston and Sara Tolbert, David Voorhees,
and Robert Wallace; 1 clay exhibition per year; 3
The Bascom, A Center for the Visual Arts, 323 Frankllin
Rd, Highlands NC 28741; [email protected];
www.thebascom.org; 828-526-4949.
Gregg Museum of Art and Design, 2610 Cates
Ave., Rm. 3302, Tallery Student Center, NC
State University, Raleigh NC 27695-7306;
[email protected]; www.ncsu.edu/gregg; 919515-3503. Primarily exhibiting contemporary and
historical ceramics; North Carolina and regional
North Carolina Pottery Center, 233 East Ave.,
Seagrove NC 27341; [email protected];
www.ncpotterycenter.com; 336-873-8430. Primarily
North Carolina and Native American pottery; 6 clay
exhibitions per year. Permanent collection of North
Carolina pottery.
Art on Depot: A Studio & Gallery, 250 Depot St.,
Waynesville NC 28786; [email protected];
www.artondepot.com; 828-246-0218. Primarily
representing 5 clay artists; Cathey Bolton, Amy
Evans, Jennifer Mecca, Chuck McMahon, and Julie
Wiggins; 6 clay exhibitions per year; 6 exhibitions
Ohio
Canton Museum of Art, 1001 Market Ave. N., Canton
OH 44702; [email protected]; 330-453-7666;
www.cantonart.org. Primarily exhibiting American
contemporary ceramics ceramics; functional and
sculptural works; representing 125 clay artists; 3
clay per year. Permanent collection of contemporary
ceramics from 1950s–present.
Cincinnati Art Museum, 953 Eden Park Dr., Cincinnati
OH 45202-1596; [email protected];
www.cincinnatiartmuseum.org; 513-721-ARTS.
artists; 3–5 clay exhibitions per year; 3–5 exhibitions
Pueblo pottery, Rookwood, Meissen, and European
High Victorian ceramics.
Thomas J. Funke Gallery, 3130 Wasson Rd.,
Cincinnati OH 45209; [email protected];
www.funkefiredarts.com; 513-871-2529. Primarily
per year.
Circle Galleries, 190 E. Whittier St., Columbus
OH 43206; [email protected]; 614-5650314; www.circlegalleries.com. Primarily exhibiting
works; representing 2 clay artists; Juliellen Byrne
and Richard Garriott-Stejskal; 1 clay exhibition per
Clayspace Gallery 831, 831 S. Front St., Columbus
OH 43206; [email protected];
www.clayspace831.com; 614-449-8144. Primarily
representing 4 clay artists; Lauren Gilmore, Todd
Hickerson, Emily Hutton, and Tami Knight; 6 clay
exhibitions per year; 1 exhibition including clay
per year.
Muse Gallery, 188 E. Whittier St., Columbus OH
43206; [email protected]; 614-565-8813;
www.amusegallery.com. Primarily exhibiting
works; representing 3 clay artists; Juliellen Byrne,
Bob Coates, and Richard Garriott-Stejskal; 1 clay
per year.
Ohio Craft Museum, 1665 W. Fifth Ave., Columbus
OH 43212; [email protected]; www.ohiocraft.org;
and historical ceramics; sculptural, functional,
figurative, and installational works; multimedia
exhibitions; representing 5 clay artists; Mark
Nafziger, Gail Russell, Amelia Stamps, Ann Tubbs,
and Theresa Yondo; 1 clay exhibition per year; 7
Sherrie Gallerie, 694 N. High St., Columbus
www.sherriegallerie.com; 614-221-8580. Primarily
Tom Bartel, Curtis Benzle, Elaine Coleman, Tom
Coleman, Scott Dooley, Jack Earl, Julie Elkins, Chris
Gustin, Andy Nasisse, Russ Vogt, and Janis Mars
Wunderlich. 9 clay exhibitions per year.
Twigs and Leaves Gallery, 98 North
Main St., Waynesville NC 28786;
www.twigsandleaves.com. Primarily exhibiting
The Museum Of Ceramics, 400 E.
Fifth St., East Liverpool OH 43920;
[email protected]; 1-800-6007180; www.TheMuseumOfCeramics.org. Primarily
functional and figurative works; 4000+ items from
hundreds of potteries over three centuries in one
area; 1 clay exhibition per year; 1 exhibition including
clay per year. Permanent collection of thousands of
pieces of local pottery and porcelain.
New Elements Gallery, 216 N. Front St., Wilmington
NC 28401; [email protected];
www.newelementsgallery.com; 910-343-8997.
sculptural and functional works; fine art and
contemporary craft; representing 15–20 clay artists.
Starbrick Gallery, 21 W. Columbus St., Nelsonville
OH 45764; [email protected]; www.starbrick.com;
ceramics; sculptural, functional, and figurative
works; Regional and national ceramics; representing
12 clay artists. 6 clay exhibitions per year; 6
Piedmont Craftsmen, 601 N. Trade St., WinstonSalem NC 27101; [email protected];
www.piedmontcraftsmen.org; 336-725-1516.
representing 50 clay artists.
Cowan Pottery Museum at Rocky River Public
Library, 1600 Hampton Rd., Rocky River OH
44116-2699; [email protected]; www.rrpl.org; 4403895-3763. Primarily exhibiting historical ceramics;
october 2011
83
84
october 2011
october 2011
85
works; representing 10 clay artists; Russell Aitken,
Elizabeth Anderson, Arthur Baggs, Paul Bogatay,
R. Guy Cowan, Edris Eckhardt, Waylande Gregory,
Margaret Postgate, Viktor Schreckengost, and
Elsa Shaw; 2 clay exhibitions per year. Permanent
collection of over 1200 pieces of American Art
Pottery from the first half of the 20th century.
gallery guide 2012
River Gallery, 19046 Old Detroit Rd., Rocky
River OH 44116; [email protected];
www.rivergalleryarts.com; 440-331-8406.
Blair Museum of Lithophanes, 5403 Elmer Dr.,
Toledo OH 43615; [email protected];
www.lithophanemuseum.org.
Toledo Museum of Art, 2445 Monroe St., Toledo
www.toledomuseum.org. Permanent collection of
Asian ceramics.
Zanesville Museum of Art, 620 Military Rd., Zanesville
www.zanesvillemuseumofart.org; 740-452-0741.
works; Ohio pottery 1870s–present, American
studio pottery; representing 10 clay artists. 4 clay
per year.
Oklahoma
Firehouse Art Center, 444 S. Flood, Norman OK
73069; [email protected]; 405-329-4523;
www.normanfirehouse.com. Primarily exhibiting
Oregon
Mossy Rock Pottery, 224 S. Broadway, Coos
Bay OR 97420; [email protected];
www.davidwillhite.com; 541-266-7687. Primarily
works; representing 1 clay artist; David Willhite; 1
clay exhibition per year; 1 exhibition including clay
per year.
Guardino Gallery, 2939 NE Alberta St., Portland
OR 97211; [email protected]; 503281-9048; www.guardinogallery.com. Primarily
Contemporary Northwest artists; representing 1520 clay artists; Scot Cameron-Bell, Dan and Laurie
Hennig, Hsin-Yi Huang, Kim Murton, and Sara
Swink; 9-12 clay exhibitions per year; 2 exhibitions
Hoffman Gallery, Oregon College of Art and
Craft, 8245 S.W. Barnes Rd., Portland OR 97225;
[email protected]; www.ocac.edu; 971-2554211. Primarily exhibiting contemporary ceramics;
sculptural, functional, figurative, and installation
works; 1 clay exhibition per year; 5 exhibitions
Museum of Contemporary Craft, 724 Northwest
Davis St., Portland OR 97209; 503-2232654; [email protected];
www.museumofcontemporarycraft.org. Primarily
Permanent collection of modern and contemporary
ceramics.
Mary Lou Zeek Gallery, 335 State St., Salem
OR 97301; [email protected]; 503-5813229; www.zeekgallery.com. Primarily exhibiting
per year.
Old Holley Pottery, 26371 Old Holley Rd., Sweet
Home OR 97386; [email protected];
www.oldholleypottery.com; 541-409-1039. Primarily
sculptural works; rustic functional stoneware and
earthenware; representing 1 clay artist; Rich Little;
clay per year.
Pennsylvania
Historic Yellow Springs & Chester Springs
Studio, 1685 Art School Rd., Chester Springs
PA 19425; [email protected]; 610827-7414; www.yellowsprings.org. Primarily
86
october 2011
clay per year.
Bruce Gallery, Edinboro, Douceite Hall, 215 Meadville
St., Edinboro PA 16444; [email protected];
www.brucegallery.org; 814-732-2513. Primarily
Allen Stoneware Gallery, 2602 W. 8th St., Erie PA
16505; [email protected]; 814-8360345; www.allenstonewaregallery.com. Primarily
Bridgette Mayer Gallery, 709 Walnut St., Philadelphia
PA 19106; [email protected];
www.bridgettemayergallery.com; 215-413-8893.
sculptural works; representing 2 clay artists; Paul
Oberst and Steve Tobin; 2 clay exhibitions per year;
Fleisher/Ollman Gallery, 1616 Walnut St.,
Ste. 100, Philadelphia PA 19103; 215-5457562; [email protected];
http://fleisher-ollmangallery.com. Primarily exhibiting
historical and contemporary ceramics; sculptural
and installation works; representing 10 clay artists;
Mei-Ling Hom, Annabeth Rosen, Paul Swenbeck,
Takatomo Tomita, and Eugene Von Bruenchenhein;
clay per year.
Institute of Contemporary Art, University of
Pennsylvania, 118 South 36th St., Philadelphia PA
19104; [email protected]; www.icaphila.org;
ceramics; installation works; 1 clay exhibition per
year; 9–12 exhibitions including clay per year.
Philadelphia Art Alliance, 251 S. 18th St., Philadelphia
PA 19103-6168; [email protected];
www.philartalliance.org; 215-545-4302. Primarily
exhibiting contemporary ceramics; 3 exhibitions
Philadelphia Museum of Art, 26th St. and the
Benjamin Franklin Pkwy., Philadelphia PA
19101-7646; [email protected];
www.philamuseum.org; 215-763-8100. Primarily
works; ceramics from Asia, the Americas, and
Europe; 5 clay exhibitions per year. Permanent
collection of American decorative arts and
contemporary craft, East Asian art, European
decorativearts, and Dutch ceramics.
Snyderman-Works Gallery, 303 Cherry St.,
Philadelphia PA 19106; [email protected];
www.snyderman-works.com; 215-238-9576. Primarily
The Clay Studio, 137–139 N. Second St.,
Philadelphia PA 19106; [email protected];
www.theclaystudio.org; 215-925-3453. Primarily
sculptural works; national and international artists;
Society for Contemporary Craft, 2100 Smallman St.,
Pittsburgh PA 15222; [email protected];
www.contemporarycraft.org; 412-261-7003x15.
works; artists from different multicultural, social,
and political backgrounds; representing 40 clay
artists. 1–2 clay exhibitions per year; 2–3 exhibitions
The Mattress Factory, 500 Sampsonia Way,
Pittsburgh PA 15212; [email protected];
www.mattress.org; 412-231-3169. Primarily
GoggleWorks, 201 Washington St., Reading
PA 19601; [email protected];
www.goggleworks.org; 610-374-4600. Primarily
Marywood University Art Galleries, 2300 Adams
Ave., Shields Center for Visual Arts, Scranton
PA 18509-1598; [email protected];
www.marywood.edu/galleries; 570-348-6211.
ceramics; sculptural works; representing 5
clay artists; Anne Currier, Randy Johnston, Jan
McKeachie-Johnston, Matt Povse, Jordan Taylor,
and Jack Troy; 1 clay exhibition per year; 4
exhibitions including clay per year. Permanent
collection of 19th–early 20th century Asian and
European ceramics.
Wayne Art Center, 413 Maplewood Ave., Wayne
PA 19087; [email protected]; www.wayneart.org;
works; representing 20+ clay artists. 1 clay exhibition
Rhode Island
Newport Potters Guild, 302 Thames St., Newport
RI 02840; [email protected];
www.newportpottersguild.com; 401-619-4880.
South Carolina
Cone 10 Studios and Clay Gallery, 1080 Morrison Dr.,
Charleston SC 29403; [email protected];
www.cone10studios.com; 843-853-3345. Primarily
Gallery Up, 201 E. Main St., Getty’s Art Center,
2nd Fl., Rock Hill SC 29730; [email protected];
www.galleryup.com; 803-980-5355. Primarily
and sculptural works; North American artists;
representing Geoff Calabrese, Jim Connell, Michael
Hamlin-Smith, Jill Birschbach, Heather Knight, Jay
Owens, Paula Smith, Yoko Sekino-Bove, and Joy
Tanner. 2 clay exhibitions per year; 4 exhibitions
Tennessee
Sandra J. Blain Gallery, Arrowmont School of Arts
and Crafts, 556 Parkway, Gatlinburg TN 37738;
[email protected]; www.arrowmont.org; 865-4365860. Primarily exhibiting contemporary ceramics;
functional works; representing 25 clay artists. 2
clay per year.
Bennett Galleries, 5308 Kingston Pike,
Knoxville TN 37919; [email protected];
www.bennettgalleries.com; 865-584-6791. Primarily
per year.
Appalachian Center for Craft, 1560 Craft Center
Dr., Smithville TN 37166; [email protected];
www.tntech.edu/craftcenter; 931-372-3051. Primarily
exhibiting contemporary ceramics; 2–5 clay
Texas
ClayWays Pottery Studio & Gallery, 5442 Burnet
Rd., Austin TX 78756; [email protected]; 512459-6445; www.clayways.com. Primarily exhibiting
representing 40 clay artists. 4 clay exhibitions per year.
iota, 3107 Knox St., Dallas TX 75205; 214-522-2999;
[email protected]; www.iotadallas.com. Primarily
Center for the Visual Arts, 400 E. Hickory, Denton TX
76201; [email protected]; www.dentonarts.com;
Sunset Canyon Pottery, 4002 E. Hwy. 290, Dripping
Springs TX 78620; [email protected];
sunsetcanyonpottery.com; 512-894-0938 or 800846-6175. Primarily exhibiting contemporary
ceramics; functional and sculptural works; Texas
artists; representing 12 clay artists. 2 clay exhibitions
Uncommon Angles, 2600 W. 7th St., Ste.159,
Fort Worth TX 76107; [email protected];
www.uncommonanglestx.com; 817-335-9933.
october 2011
87
Your Source for Inspired Techniques
The CeramiC arTs handbook series
&
Raku,Pit Barrel
&
Throwing
Handbuilding
Firing
Techniques
Surface
Decoration
Forming
Techniques
Ceramic
Arts
Handbook
Series
Ceramic
Arts
Handbook
Series
Glazes
Glazing
&
Ceramic Art
Innovative
Techniques
Edited by Anderson Turner
136
Ceramic
Sculpture
Inspiring
Techniques
Ceramic
Arts
Handbook
Series
Creative
Techniques
Raku Firing
136
Ceramic
Projects
Forming
Techniques
Ceramic
Arts
Handbook
Series
Ceramic
Arts
Handbook
Series
136
136
ceramicartsdaily.org/bookstore
88
october 2011
Advanced
Techniques
Ceramic
Arts
Handbook
Series
136
866-672-6993
Forming
Techniques
Ceramic
Arts
Handbook
Series
Ceramic
Arts
Handbook
Series
Ceramic
Arts
Handbook
Series
&
Electric
Firing
Finishing
Techniques
Extruder,
Mold Tile
Ceramic
Arts
Handbook
Series
Finishing
Techniques
136
october 2011
89
gallery guide 2012
www.redkiln.org; 801-484-4016. Primarily exhibiting
contemporary ceramics; functional works; Feature
Utah potters and clay artists; representing 12 clay
18 Hands Gallery, 249 W. 19th St., Ste. B,
Houston TX 77008; [email protected];
www.18handsgallery.com; 713-869-3099. Primarily
Vermont
Booker-Lowe Gallery, 4623 Feagan St.,
www.bookerlowegallery.com; 713-880-1541.
sculptural works; Australian ceramics; representing
1 clay artist; Pippin Drysdale; 1 clay exhibition per
Foelber Pottery, 706 Richmond Ave., Houston TX
77006; [email protected]; 713-529-1703;
www.foelberpottery.com. Primarily exhibiting
figurative works; representing 7 clay artists; Judy
Adams, Rita Bradberry, Minerva Chango, Saida
Fagala, John Foelber, Jim Seigler, and Earnest Snell;
Goldesberry Gallery, 2625 Colquitt St., Houston
TX 77098; [email protected];
www.goldesberrygallery.com; 713-528-0405.
functional, sculptural, and figurative works; regional
and national ceramics and metalwork; representing
Houston Center for Contemporary Craft, 4848 Main
St., Houston TX 77002; [email protected];
www.crafthouston.org; 713-529-4848. Primarily
sculptural works; all craft media; representing 20
clay artists; 2 clay exhibitions per year; 4 exhibitions
Houston Potters Guild Shop, out of business,
www.houstonpotters.com; 281-286-6184. Primarily
representing 7 clay artists; Cindy Babbitt, Dorothy
Broaddus, Marsha Landers, Renee Lieber, Polly
McKinney, Janis Ross, and Marcia Selsor; 11 clay
per year.
Museum of Fine Arts, Houston, 1001 Bissonnet,
www.mfah.org; 713-639-7300. Primarily exhibiting
historical and contemporary ceramics.
ZOHO Gallery, San Miguel de Allende, Laredo
TX 78045; www.zohogallery.com; 415-462-1747.
ceramics; sculptural and installation works;
cooperative gallery; representing 3 clay artists;
Edna Dickinson, Elaine Grenier, and Ellen Johnson;
clay per year.
San Angelo Museum of Fine Arts, 1 Love St., San
Angelo TX 76903-3092; [email protected];
www.samfa.org; 325-653-3333. Primarily exhibiting
contemporary ceramics; 1–2 clay exhibitions per year.
Gallery Nord, 2009 NW Military Hwy., San Antonio
TX 78213; [email protected]; 210-348-0088;
www.gallerynord.com.
Russell Hill Rogers Gallery, Southwest School
of Art, 1201 Navarro, San Antonio TX 78205;
[email protected]; www.swschool.org; 210224-1848. Primarily exhibiting contemporary
installation works; 1 clay exhibition per year; 1
Mossrock Studio and Fine Art Gallery, 26002
Oakridge Dr., The Woodlands TX 77380;
www.mossrockstudio.com. Primarily exhibiting
contemporary ceramics; functional, figurative, and
Utah
Red Kiln Studio and Gallery, 393 East 1700 S., Salt
Lake City UT 84115; [email protected];
The Bennington Museum, 75 Main St. (Rt. 9),
Bennington VT 05201; [email protected];
www.benningtonmuseum.org/collections.html; 802447-1571. Primarily exhibiting historical ceramics;
sculptural, functional, and figurative works; early
American ceramics; representing Christopher
Webber Fenton, David Gil, Julius Norton, Luma
Norton, and Lumas Preston Norton. 2–3 clay
exhibitions per year; 1 exhibition including clay per
year. Permanent collection of Bennington pottery,
Norton Pottery, United States Pottery Company, and
early American Redware.
Frog Hollow Vermont State Craft Center, 1 Mill St.,
Middlebury VT 05753; [email protected]; 802388-3177; www.froghollow.org. Primarily exhibiting
contemporary ceramics; Vermont artists, multimedia
exhibitions.
Virginia
Scope Gallery, The Torpedo Factory, 105 N.
Union St., Studio 19, Alexandria VA 22314;
www.torpedofactory.org/galleries/scope.htm.
Primarily exhibiting contemporary ceramics; functional
and sculptural works; representing 20+ clay artists.
clay per year.
Workhouse Arts Center, 9504 Workhouse Way,
Lorton VA 22079; [email protected];
www.workhousearts.org; 703-584-2982. Primarily
representing 6 clay artists; Pam Eisenmann, Dale
Marhanka, Hadrian Mendoza, Erika Radke, and
Joan Ulrich; 6 clay exhibitions per year; 2 exhibitions
Baron and Ellin Gordon Art Galleries, Old
Dominion University, 9032 Batten Arts and Letters
Bldg., Norfolk VA 23529; [email protected];
http://al.odu.edu/art/gallery/index.php; 757-6833020. Primarily exhibiting contemporary ceramics;
sculptural, figurative, and installation works; 1 clay
per year.
DeWitt Wallace Decorative Arts Museum and
Abby Aldrich Rockefeller Folk Art Museum,
Colonial Williamsburg Foundation, 325 W. Francis
St., Williamsburg VA 23185; [email protected];
www.colonialwilliamsburg.org/history/museums;
757-229-1000. Primarily exhibiting historical
ceramics; functional works; American, British,
Chinese, English, and German antique ceramics;
clay per year.
Washington
The Island Gallery, 400 Winslow Way
E., #120, Bainbridge Island WA 98110;
www.theislandgallery.net. Primarily exhibiting
contemporary ceramics; emphasis on woodfired work; representing 45 clay artists. 6–8 clay
Bellevue Arts Museum, 510 Bellevue Way NE,
Bellevue WA 98004; [email protected];
www.bellevuearts.org; 425-519-0770. Primarily
sculptural works; representing 2 clay artists; Robert
Sperry; 2 clay exhibitions per year; 4 exhibitions
Good Earth Pottery, 1000 Harris Ave., Bellingham
WA 98225; [email protected];
www.goodearthpots.com; 360-671-3998. Primarily
sculptural works; local artists within 50 mile radius
of gallery; representing 20+ clay artists. 12 clay
per year.
Kirkland Arts Center, 620 Market St, Kirkland
www.kirklandartscenter.org; 425-822-7161.
Childhood’s End Gallery, 222 4th Ave. W., Olympia
WA 98501; [email protected]; www.childhoods-
end-gallery.com; 360-943-3724. Primarily exhibiting
figurative works; Pacific Northwest; representing 18
Foster/White Gallery, 220 Third Avenue S. #100,
Seattle WA 98104; [email protected];
www.fosterwhite.com.
Grover Thurston Gallery, 319 3rd Ave. S.,
www.groverthurston.com; 206-223-0816. Primarily
JFX MODERN, Div. of J. Franklin Fine Art, Inc., The
Fairmont Olympic Hotel, 411 University St., Ste.
1200, Seattle WA 98101; [email protected];
www.JFranklinFineArt.com; 206-300-0235. Primarily
exhibiting historical ceramics; functional, sculptural,
and figurative works; mid–late 20th century American
Studio Pottery; representing 20+ clay artists. 2 clay
per year.
KOBO (Capitol Hill), 814 E. Roy St., Seattle WA 98102;
[email protected]; www.koboseattle.com;
KOBO Gallery (at Higo), 602–608 S. Jackson,
Seattle WA 98104; i nfo@kobose attl e.com;
www.koboseattle.com; 206-381-3000. Primarily
clay per year.
Pottery Northwest, 226 First Ave. N, Seattle WA
98109; [email protected]; 206-285-4421;
www.potterynorthwest.org.
Seattle Art Museum, 1400 E. Prospect St., Seattle
www.seattleartmuseum.org; 206-654-3100. Primarily
Asian ceramics.
William Traver Gallery, 110 Union St. #200,
www.travergallery.com; 206-587-6501. Primarily
Deirdre Daw, Doug Jeck, Jun Kaneko, Eric Nelson,
Kathy Venter, and Jamie Walker. 3–5 clay exhibitions
per year.
West Virginia
David L. Dickirson Fine Arts Gallery at
Tamarack, One Tamarack Park, Beckley WV
25801; [email protected]; 304-2566843; www.tamarackwv.com. Primarily exhibiting
per year.
Wisconsin
Chazen Museum of Art, University of WisconsinMadison, 800 University Ave., Madison WI
53706-1479; [email protected];
www.chazen.wisc.edu; 608-263-2246. Primarily
exhibiting historical ceramics; functional works;
representing Ruth Duckworth, Peter Gourfain,
Ah Leon, and Don Reitz. Permanent collection of
Southeast Asian, Chinese, and 18th–19th century
English ceramics.
Higher Fire Clay Studio, 2132 Regent St., Madison,
WI 53726; [email protected];
www.higherfireclaystudio.com; 608-233-3050.
functional and sculptural works; representing 20+
Riverrun Center for the Arts, 6938 Bridge Rd., PO Box
95, McNaughton WI 54543; [email protected];
www.riverrunarts.com; 715-277-4224. Primarily
Racine Art Museum, 441 Main St, Racine WI 53403;
[email protected]; www.ramart.org; 262-638-8300.
ceramics; functional and sculptural works.
90
october 2011
october 2011
91
92
october 2011
ClayAS CANVAS
October 6 - December 31, 2011
Burleson
MARY Engel
DIANA Fayt
DONNA Flanery
JULIA Galloway
JENNIFER Kincaid
KATHY King
JENNY Mendes
JUSTIN Rothshank
STACY Snyder
SHOKO Teruyama
SUE Tirrell
MARK
Shoko Teruyama, Tsunami Large Platter, glaze fired earthenware with sgraffito decoration, 5˝H x 20˝DIA.
Jeff Oestreich, Faceted Bowl, stoneware; thrown and altered, soda firing, 5˝H x 13˝DIA.
Decorated pots, plates, tiles and panels for the wall
— twelve ceramicists from around the country utilize
a variety of techniques to render imagery onto clay.
Jeff Oestreich
October 6 - November 17, 2011
Workshop with Jeff Oestreich
at Odyssey Center for Ceramic Arts
in Asheville — odysseyceramicarts.com
October 7- 8 — 9:00am - 4:30pm
Blue Spiral 1 is a stunning 15,000 sq. ft.
gallery specializing in Southeastern fine art
and craft for over 20 years. Ceramics are
featured prominently in solo and group
exhibitions. The gallery represents work
by more than 25 Southern clay artists.
View exhibitions at www.bluespiral1.com
38 Biltmore Avenue
•
Downtown Asheville, NC
•
828.251.0202
october 2011
93
Charles A. Wustum Museum of Fine Art, 2519
Northwestern Ave., Racine WI 53404-2299; info@
ramart.org; www.ramart.org/ram/Wustum-Museum/;
Wyoming
gallery guide 2012
Margo’s Pottery & Fine Crafts, 1 N. Main St.,
Buffalo WY 82834; [email protected];
www.margospottery.com; 307-684-9406. Primarily
representing 20+ clay artists. 2 clay exhibitions
per year.
Australia
JamFactory Contemporary Craft & Design,
19 Morphett St., Adelaide, South Australia
5000 Australia; [email protected];
www.jamfactory.com.au; 61 8 8410 0727. Primarily
sculptural, and figurative works; Australian ceramics;
The Potters Beechworth, 56 Ford St., Beechworth,
Victoria 3747 Australia; [email protected];
www.onetreehillpottery.com.au/Shop/Index.htm; 061
0 3 5728 2636. Primarily exhibiting contemporary
works; representing 20+ clay artists. 1 clay exhibition
Yarralumla Gallery and The Oaks Brasserie,
Cottage 1, Yarralumla Nursery Weston Park
Rd., Canberra, Australian Capital Territory 2600
Australia; [email protected]; 61 2 6260
5253; www.yarralumlagallery.itgo.com. Primarily
figurative works; representing Michelle Bollay, Mary
Lou Hogarty, Sue James, and Libot Seidl. 3 clay
Skepsi on Swanston, 670 Swanston St., Carlton,
www.skepsionswanston.com.au; 61 3 9348 2002.
Australian; representing 350 clay artists. 12 clay
Helen Stephens Gallery, All Hand Made, 1 Murray
St., Collector, New South Wales 2581 Australia;
[email protected]; 61 2 9386 4099;
www.allhandmadegallery.com. Primarily exhibiting
contemporary ceramics; functional works; Australian
and Japanese; representing 20 clay artists. 6 clay
Rosedale Street Gallery, 2A Rosedale St.,
Dulwich Hill, New South Wales 2203 Australia;
www.rosedalestreetgallery.com. Primarily exhibiting
works; representing 2 clay artists; Leonard Smith
and Lindy Rose Smith; 3 clay exhibitions per year;
1 exhibition including clay per year.
Bendigo Pottery Interpretive Museum, 146
Midland Hwy., Epsom, Victoria 3551 Australia;
[email protected]; 03 5448 4404;
www.bendigopottery.com.au. Primarily exhibiting
historical ceramics; Bendigo pottery.
Potiche Gallery at Bendigo Pottery, 146
Midland Hwy., Epsom, Victoria 3551 Australia;
www.bendigopottery.com.au/potichegallery.asp.
Primarily exhibiting contemporary ceramics; central
Victoria ceramics.
Guildford Village Potters, 22 Meadow St., Guildford,
Western Australia 6055 Australia; guildfordpotters@
yahoo.com.au; www.guildfordpotters.webs.com;
ceramics; representing 24 clay artists. 6 clay
Inner City Clayworkers Gallery, corner of St.
Johns Rd. and Darghan St., Glebe, New South
Wales 2037 Australia; [email protected];
www.clayworkers.com.au; 61 2 9692 9717. Primarily
sculptural works; Australian ceramics; 12 clay
Cudgegong Gallery, 102 Herbert St.,
Gulgong, New South Wales 2852 Australia;
www.cudgegonggallery.com.au. Primarily exhibiting
94
october 2011
Craft Victoria, 31 Flinders Ln., Melbourne,
http://craftvic.org.au; 61 3 9650 7775.
Creative Spaces, Council House 2, 240
Little Collins St., Melbourne, Victoria 3000
Australia; [email protected];
www.creativespaces.net.au; 03 9658 8593.
Newcastle Region Art Gallery, 1 Laman St., Newcastle,
New South Wales 2300 Australia; 61 2 4974 5100;
[email protected]; www.nag.org.au. Primarily
exhibiting contemporary ceramics; Australian and
Japanese ceramics; representing 200 clay artists. 3
Sabbia Gallery, 120 Glenmore Rd.,
Paddington, New South Wales 2021 Australia;
www.sabbiagallery.com. Primarily exhibiting
figurative, and installation works; representing 9
clay artists; Julie Bartholomew, Les Blakebrough,
Greg Daly, Janet DeBoos, Simone Fraser, Honor
Freeman, Jeff Mincham, Gail Nichols, and Tania
Rollond; 6 clay exhibitions per year; 8 exhibitions
Shepparton Art Museum, Eastbank Centre,
70 Welsford St., Shepparton, Victoria 3632
Australia; [email protected];
www.sheppartonartmuseum.com.au; 61 3 5832
9861. Primarily exhibiting contemporary and
historical ceramics; Australian ceramics; Sidney
Myer Fund International Ceramics Award; 2–3 clay
Object: Australian Centre for Craft and Design, 417
Bourke St., Surry Hills, Sydney, New South Wales
2010 Australia; [email protected]; 61 2 9361
4511; www.object.com.au. Primarily exhibiting
contemporary ceramics; Australian artists.
Robin Gibson Gallery, 278 Liverpool St., Darlinghurst,
Sydney, New South Wales 2010 Australia;
[email protected]; www.robingibson.net;
612 9331 6692. Primarily exhibiting contemporary
installation works; representing 4 clay artists;
Stephen Bowers, Karen Choy, David Pottinger, and
David Rose; 4 clay exhibitions per year; 4 exhibitions
Watson Arts Centre, 1 Aspinall St., Watson,
Australian Capital Territory 2602 Australia;
www.canberrapotters.com.au/wcac_exhibitions.html.
functional and figurative works; 12 clay exhibitions
Falls Gallery, 161 Falls Rd., Wentworth Falls, New
South Wales 2782 Australia; [email protected];
www.fallsgallery.com.au; 61 2 4757 1139. Primarily
exhibiting contemporary ceramics; Japanese
influenced studio ceramics; representing Andrew
Halford, Bernard Ollis, Wendy Sharpe, Anne Smith,
and Ian Smith.
Austria
Galerie Freihausgasse / Galerie der Stadt Villach,
Freihausgasse, Villach, Carinthia A-9500 Austria;
[email protected]; www.villach.at; 0043 0 4242
/205 3450. Primarily exhibiting contemporary ceramics;
works; representing 50 clay artists. 1 clay exhibition per
Genuss Galerie Kunst und Kulinarik, Gertrudplatz
3, am Kutschkermarkt, Wien A-1180 Austria;
www.genussgalerie.at.
Belgium
Puls Contemporary Ceramics, Kasteleinsplein 4,
place du Châtelain, Brussels B-1050 Belgium;
[email protected]; www.pulsceramics.com;
32 26 40 26 55. Primarily exhibiting contemporary
ceramics; International; representing 40 clay artists.
Canada
Willock & Sax Gallery, 110 Bison Courtyard, 211 Bear
St., Banff, Alberta T1L 1C2 Canada; 403-762-2214;
1-866-859-2220; [email protected];
www.willockandsaxgallery.com. Primarily exhibiting
and functional works; Canadian and Albertan
ceramics; representing 11 clay artists. 3 clay
per year.
Burlington Art Centre, 1333 Lakeshore
Rd., Burlington, Ontario L7S 1A9 Canada;
[email protected]; www.thebac.ca;
ceramics; Canadian ceramics; 7 clay exhibitions
per year.
Blue Mountain Foundation for the Arts, 163
Hurontario St., Collingwood, Ontario L9Y 4E8
Canada; [email protected]; www.bmfa.on.ca;
artists. 1-4 clay exhibitions per year; 12 exhibitions
The Potters Place, 180B 5th St., Courtenay, British
Columbia V9N 1J4 Canada; [email protected];
www.thepottersplace.ca; 250-334-4613. Primarily
clay per year.
Alberta Craft Council Gallery, 10186 106 St.,
Edmonton, Alberta T5J 1H4 Canada;
[email protected]; www.albertacraft.ab.ca;
Canadian Guild of Crafts, 1460 rue Sherbrooke
W, Ste. B, Montréal, Québec H3G 1K4 Canada;
www.canadianguildofcrafts.com. Primarily exhibiting
works; Canadian ceramics; representing 12 clay
artists. 2–3 clay exhibitions per year; 6–8 exhibitions
Nanaimo Art Gallery, 900 Fifth St., Nanaimo, British
Columbia V9R 5S5 Canada; [email protected];
www.nanaimoartgallery.com; 250-740-6350. Primarily
Lafrenière & Pai Gallery, 13 Murray St., Ottawa,
Ontario K1N 9M5 Canada; [email protected];
www.lapaigallery.com; 613-241-2767. Primarily
exhibiting contemporary ceramics; sculptural
works; representing Mimi Cabri, Pattie Chalmers,
Sunmi Jung, Paula Murray, and Susie Osler. 4 clay
MacKenzie Art Gallery, 3475 Albert St.,
Regina, Saskatchewan S4P 2E7 Canada;
www.mackenzieartgallery.ca. Primarily exhibiting
Affinity Gallery, 813 Broadway Ave.,
Saskatoon, Saskatchewan S7N 1B5 Canada;
[email protected]; 306-653-3616 ext.25;
www.saskcraftcouncil.org. Primarily exhibiting
contemporary ceramics; sculptural, functional,
figurative, and installation works; Canadian artwork;
Gardiner Museum of Ceramic Art, 111 Queen’s
Park, Toronto, Ontario M5S 2C7 Canada;
www.gardinermuseum.on.ca. Primarily exhibiting
historical and contemporary ceramics. Permanent
collections, including ceramics from Europe and
the Americas, 15th–16th century Italian maiolica,
17th century Delftware, 18th century Meissen, and
English, French, German, and Viennese porcelain,
blue and white Chinese porcelain; 2–3 clay
Petroff Gallery, 1016 Eglinton Ave., W, Toronto,
Ontario M6C 2C5 Canada; [email protected];
www.petroffgallery.com; 877-542-3600 or 416-7821696. Primarily exhibiting contemporary ceramics;
North American ceramics; representing 50 clay
Royal Ontario Museum, 100 Queen’s Park, Toronto,
Ontario M5S 2C6 Canada; [email protected];
www.rom.on.ca; 416-586-8000. Permanent collection
october 2011
95
Dan Anderson
Louis Ballard
Geoffrey Bant
Chris Berti
Susan Bostwick
Tom Brewer
Randy Carlson
Chris Chaney
Yong Hyun Chung
Harris Deller
Harris
Hoffman
Berti
Bob Dixon
Mary Drabik
Erin Furimsky
Todd Frahm
Don Frith
Matthew Groves
Lisa Harris
Clara Hoag
Thomas Hoffman
Vesna Jovanovic
Nixon Khoo
Kuo
Naragon
Meltzer
Patty Kochaver
Ron Kovatch
Yih-Wen Kuo
Jayson Lawfer
Jerry McNeil
Cheryl L. Meeker
Eugenia Frith Meltzer
Marlene Miller
D e c e m b e r 3 , 2 0 11 - J a n u a r y
Dwain Naragon
Mary Carolyn Obodzinski
Laura O’Donnell
Angela Rose
Tammie Rubin
Carl Schoenberger
Catherine SchwalbeBouzide
Michael Schwegmann
Albion James Stafford
Theide
Billie Jean Theide
Schoenberger
Schwegmann
Tracy Thomas
Tom Turner
Momoko Usami
Rimas VisGirda
Paul Wandless
Catherine Wiesener
Matt Wilt
Dustin Yager
VisGirda
Khoo
O’Donnell
All Steamed Up
Frith
2 1 , 2 0 1 2
Turner
Wilt
Usami
120 W. Main St. Urbana, IL 61801-2715 | 10a-5p Wed-Sat | 217-367-3711
96
october 2011
w w w. c i n e m a g a l l e r y. c c
october 2011
97
of African, American, Asian, Canadian, Egyptian,
European, Greek, Roman, Mediterranean, North,
Central, and South American ceramics.
gallery guide 2012
Gallery of B.C. Ceramics, 1359 Cartwright St.,
Granville Island, Vancouver, British Columbia V6H
3R7 Canada; [email protected];
www.bcpotters.com; 604-669-3606. Primarily
decorative and, and sculptural works; representing
100 clay artists. 6 clay exhibitions per year.
The Canadian Clay & Glass Gallery, 25 Caroline
St. N., Waterloo, Ontario N2L 2Y5 Canada;
www.canadianclayandglass.ca. Primarily exhibiting
contemporary ceramics; sculptural and functional
works; 8–10 clay exhibitions per year. Permanent
collection of over 300 contemporary ceramic works.
The Winnipeg Art Gallery, 300 Memorial
Blvd., Winnipeg, Manitoba R3C 1V1 Canada;
[email protected]; www.wag.ca; 204-786-6641.
ceramics; British 17th–18th century studio
production; 1–2 clay exhibitions per year.
Croatia
Croatian Ceramic Association-KERAMEIKON,
Križaniceva 13, Varaždin 42000 Croatia;
[email protected]; www.kerameikon.com; 385
ceramics; sculptural and figurative works;
per year.
Cyprus
Gallery K Nicosia, 14 Evrou St., Strovolos,
Nicosia 2003 Cyprus; [email protected];
www.gallery-k.co.uk; 357 22 341123. Primarily
representing Doros Irakleous, Antreas Kattos,
Toulla Malla, Michael Maria, Oria Petropoulou, and
Christiana Thrasivoulidou.
Denmark
Kunstindustrimuseet, Danish Museum of Art &
Design, Bredgade 68, Copenhagen DK-1260
Denmark; www.kunstindustrimuseet.dk; 45 33 18 56
56. Primarily exhibiting historical and contemporary
ceramics; functional and sculptural works; Chinese
and Japanese ceramics, European from the
Renaissance–present day, and contemporary
Danish ceramics; representing 20+ clay artists;
clay per year. Permanent collection of Chinese,
European, Japanese, and Scandinavian ceramics.
Galleri Jytte Møller, Jyllandsgade 45, Fredericia
DK-7000 Denmark; [email protected];
www.gallerijyttemoeller.dk. Primarily exhibiting
per year.
Danmarks Keramikmuseum—Grimmerhus
(Museum of International Ceramic Art—Denmark),
Kongebrovej 42, Middelfart DK-5500 Denmark;
[email protected]; www.grimmerhus.dk; 45
6441 4798.
England
Ferrers Gallery, Melbourne Rd., Staunton
Harold, Ashby-de-la-Zouch, Leicestershire
LE65 1RU England; [email protected];
http://ferrersgallery.co.uk; 01332 863337. Primarily
and functional works; British artists and regional
craftmanship; representing 25 clay artists. 1 clay
per year.
Bakewell Arts and Design Galleries & Studios, Rutland
Mill, off Coombs Rd., Bakewell, Derbyshire DE45
1AQ England; [email protected];
http://bakewellartsanddesign.com; 44 1629 815200.
representing 9 clay artists; Katie Almond, Joe
Bunbury, Jenny Creasey, Clare Gage, Tom Gibson,
Sue Gorman, Wendy Jung, Carol Lloyd, and Tone
von Krogh; 6 clay exhibitions per year; 20 exhibitions
Atelier Contemporary Craft Gallery, 12 Tuly
St., Barnstaple, Devon EX31 1HD England; 44
98
october 2011
0 1271 268244; [email protected];
www.gallery-atelier.co.uk. Primarily exhibiting
figurative works; emerging and established British
artists; representing 20 clay artists. 2 clay exhibitions
The Ropewalk, The Ropewalk, Maltkiln Rd., Barton
upon Humber, North Lincolnshire DN18 5JT
England; [email protected]; 01652 660380;
www.the-ropewalk.co.uk. Primarily exhibiting
contemporary ceramics; functional works; British
Ceramics; representing 20+ clay artists. 5 clay
Beaux Arts Bath, 12–13 York St., Bath, Somerset
BA1 1NG England; [email protected]; 44
12 2546 4850; www.beauxartsbath.co.uk. Primarily
sculptural works; representing 10 clay artists;
Emmanuel Cooper, Eddie Curtis, Ashraf Hanna,
Chris Keenan, John Maltby, Antonia Salmon, Avital
Sheffer, Takeshi Yasuda, Masamichi Yoshikawa; 8
clay per year.
Gallery Nine, 9B Margarets Buildings, Bath
BA1 2LP England; [email protected];
www.gallerynine.co.uk; 44 12 2531 9197. Primarily
functional works; British ceramics; representing
Richard Batterham, Sue Binns, Matthew Chambers,
Jack Doherty, Walter Keeler, John Leach, Paul
Philp, James and Tilla Walters, and Sasha Wardell.
clay per year.
RBSA Gallery, The Royal Birmingham Society of Artists,
4 Brook St., St. Pauls, Birmingham, West Midlands
B3 1SA England; [email protected]; 44 12
1236 4353; www.rbsa.org.uk. Primarily exhibiting
contemporary ceramics; British ceramics; 1 clay
exhibitions per year; 4+ exhibitions including clay
per year.
The Devon Guild of Craftsmen, Riverside Mill,
Bovey Tracey, Devon TQ13 9AF England;
[email protected]; www.crafts.org.uk;
401626 832223. Primarily exhibiting contemporary
works; representing 20+ clay artists; 3 clay
per year. Permanent collection of nearly 70 artists.
Blackwell, The Arts & Crafts House, Bownesson-Windermere, Cumbria LA23 3JT England;
[email protected]; www.blackwell.org.uk;
44 15 3944 6139. Primarily exhibiting historical
and contemporary ceramics; functional works;
contemporary arts and crafts; 1 clay exhibition per
Blaze, 84 Colston St., Bristol BS1 5BB England;
[email protected]; 44 11 7904
7067; www.blazestudio.co.uk. Primarily exhibiting
contemporary ceramics; functional works; British
ceramics; representing Sally Dove, Erin Hensley,
Belinda Lawson, Kay Morgan, Hanne Rysgaard,
Hannah Turner, and Rosamund Wilton.
Primavera, 10 Kings Parade, Cambridge
CB2 1 S J Engl and; i nfo@pri maverauk.com;
www.primaverauk.com; 44 12 23 357708. Primarily
sculptural, figurative, and installation works; British
ceramics; representing 200 clay artists; 1 clay
per year. Permanent collection of works by Hans
Coper, Bernard Leach, David Leach, Eric Mellon,
Alan Spencer-Green, and Lucie Rie.
Contemporary Studio Pottery, 6 Mill St., Chagford,
Devon TQ13 8AW England; 44 16 4743 2900;
www.studiopotteryandsculpture.co.uk. Primarily
Bridget Arnold, Svend Bayer, Clive Bowen, Bruce
Chivers, Nic Collins, Ross Emerson, and Penny
Simpson. Permanent collection of works by
represented artists; 4 clay exhibitions per year.
One Village, One Village Worldshop, Oxford St.,
Charlbury OX7 3SQ England; 44 1608 811811;
[email protected]; www.onevillage.com.
functional works.
The Arc, 4 Commonhall St., Cheshire, Chester
CH1 2BJ England; [email protected];
thearcgallery.co.uk; 01244-348379. Primarily
exhibiting works; clay exhibitions per year.
New Brewery Arts, Brewery Court, Cirencester,
Gloucestershire GL7 1JH England;
[email protected]; 01285 657181;
newbreweryarts.org.uk. Primarily exhibiting
contemporary ceramics; functional works.
Simon Drew Gallery, 13 Foss St., Dartmouth,
Devon TQ6 9NR England; [email protected];
www.simondrew.co.uk; 44 18 0383 2832. Primarily
exhibiting contemporary ceramics; English artists;
Derby Museum & Art Gallery, The Strand, Derby,
Derbyshire DE1 1BS England; [email protected];
01332 641908; www.derby.gov.uk/museums. Primarily
exhibiting historical ceramics; functional works.
Permanent collection of Derby porcelain from
1750–present, Derbyshire pottery from Langley Mill,
Woodville, Denby and the Chesterfield area, 20th
century studio pottery.
Bluestone Gallery, 8 Old Swan Yard, Devizes, Wilts
SN10 1AT England; [email protected];
www.bluestonegallery.com; 44 13 8072 9589. Primarily
clay artists. 1 clay exhibition per year; 1 exhibition
Ditchling Museum Shop, Church Ln., Ditchling, Sussex
BN6 8TB England; [email protected];
http://ditchling-museum.com; 01273-844744.
The Beetroot Tree Gallery, South St., Draycott,
Derbyshire DE72 3PP England; 0044
www.thebeetroottree.com. Primarily exhibiting
clay per year.
New Ashgate Gallery, Wagon Yard, off Lower
Church Ln., Farnham, Surrey GU9 7PS England;
[email protected]; 01252 713208;
www.newashgate.org.uk. Primarily exhibiting
works; British and some international work;
The Potteries Museum & Art Gallery, Bethesda
St., Hanley, Stoke-on-Trent ST1 3DW England;
www.stoke.gov.uk/museums. Primarily exhibiting
sculptural, and figurative works; Staffordshire, 20th
century British industrial and studio ceramics, East
Asian and Islamic ceramics, and Italian Renaissance
maiolica; 2 clay exhibitions per year; 8 exhibitions
Staffordshire ceramics.
The GreenTree Gallery, Borde Hill Garden, Borde Hill
Ln., Haywards Heath, Sussex RH16 1XP England;
[email protected]; greentreegallery.co.uk;
01444-456560. Primarily exhibiting contemporary
ceramics; sculptural, figurative, and functional
works; representing Judith Fisher, Matt Horne, Julie
Janvrin, Victoria Lovell, Tilly Mellor, Keith Menear,
and Amberley Pottery. 4 clay exhibitions per year.
Bircham Gallery, 14 Market Pl., Holt, Norfolk
NR25 6BW England; [email protected];
www.birchamgallery.co.uk; 44 12 6371 3312.
functional, sculptural, and figurative works; British
studio ceramics; representing 20+ clay artists. 1
clay exhibition per year; 10 exhibitions including
clay per year.
Quay Arts, Sea St., Newpourt Harbour, Isle
of Wight, Hampshire PO30 5BD England;
[email protected]; www.quayarts.org; 44
per year.
The Craft Centre and Design Gallery, City Art
Gallery, The Headrow, Leeds, West Yorkshire LS1
3AB England; [email protected];
www.craftcentreleeds.co.uk/thegallery.htm; 44 0 1132
478 241. Primarily exhibiting contemporary ceramics;
domestic and studio ceramics; representing 50 clay
The Sussex Guild Shop & Gallery, The North Wing,
Southover Grange, Southover Rd., Lewes, Sussex
BN7 1UF England; [email protected];
http://sussexguild.co.uk; 01273 479565. Primarily
october 2011
99
100
october 2011
october 2011
101
Sussex Guild members; representing 8 clay artists;
Sylph Baier, Jonathan Chisswell Jones, Judith
Fisher, Kate Hackett, Lisa Katzenstein, Tessa Wolfe
Murray, John Warren, and Maurice Young.
gallery guide 2012
Bluecoat Display Centre, The Bluecoat, College
Lane Entrance, Liverpool, Merseyside L1 3BZ
England; [email protected];
www.bluecoatdisplaycentre.com; 44 1517 094 014.
Primarily exhibiting contemporary ceramics; 6–8 clay
Contemporary Applied Arts, 2 Percy St., London W1T
1DD England; [email protected]; www.caa.org.uk;
ceramics; functional and sculptural works; British
ceramics; representing 90+ clay artists. 3 clay
per year.
Contemporary Ceramics Centre, 63 Great Russell
St., London WC1B 3BF England; 020 7242 9644;
[email protected]; www.cpaceramics.com.
artists; representing 350 clay artists. 6 clay
David Mellor, 4 Sloane Sq., London SW1W 8EE
England; [email protected];
davidmellordesign.co.uk; 020 7730 4259. Primarily
representing Richard Batterham, Svend Bayer, John
Leach, A&J Young, ands Winchcombe Pottery.
Flow Gallery, 1–5 Needham Rd., London W11
2RP England; [email protected]; 44 2072 430
782; www.flowgallery.co.uk. Primarily exhibiting
works; International ceramics; representing 20 clay
artists. 3 clay exhibitions per year; 3 exhibitions
Surrey Guild Craft Gallery, 1 Moushill Ln., Milford,
Surrey GU8 5BH England; [email protected];
www.surreyguild.com; 01483 424769. Primarily
sculptural works; representing Elaine Coles, Beryl
Hole, Jonathan Chiswell Jones, Myra McDonnell,
Justine Munston, Terri Smart, Polly Swain, and Jean
Tolkovsky; 2 exhibitions including clay per year.
The Harley Gallery, Welbeck, Nottinghamshire
S80 3LW England; [email protected];
www.harleygallery.co.uk; 44 0 1909 501 700.
works; 1 clay exhibition per year; 5 exhibitions
Mid-Cornwall Galleries, St. Blazey Gate, Par, Cornwall
PL24 2EG England; [email protected];
44 17 2681 2131; www.midcornwallgalleries.co.uk.
sculptural, functional, and figurative works; British
and European ceramics; representing 30+ clay
artists. 1 clay exhibition per year; 6 exhibitions
Old Chapel Gallery, East St., Pembridge,
Herefordshire HR6 9HB England; 01544
www.oldchapelgallery.co.uk. Primarily exhibiting
figurative works; British contemporary ceramics;
representing 15 clay artists; 5 clay exhibitions per
year; 5 ehibitions including clay per year. Permanent
collection of works by Sylph Baier, Jason Braham,
Willie Carter, Mark Dally, David Frith, Steve Harrison,
Ralph Jandrell, Walter Keeller, Tony Laverick, Elaine
Peto, Lawson Rudge, and Tony White.
Frivoli, 7a Devonshire Rd., London W4 2EU
England; [email protected]; 020 8742 3255;
www.devonshireroad.com/frivoli.html.
Yew Tree Gallery, Keigwin, Morvah, Penzance,
Cornwall TR19 7TS England; 44 17 3678 6425;
[email protected]; www.yewtreegallery.com.
Primarily exhibiting contemporary ceramics; representing Chris Barnes, Sue Binns, Clive Bowen, Prue
Cooper, Jill Fanshawe Kato, John Maltby, and Judith
Rowe. 3–4 clay exhibitions per year.
Geffrye Museum, 136 Kingsland Rd.,
Shoreditch, London E2 8EA England; 44 20
7739 9893; [email protected];
www.geffrye-museum.org.uk. Primarily exhibiting
works. Permanent collection of 17th century
tin-glazed stoneware, 18th century porcelain;
representing 40–50 clay artists.
45 Southside, 45 Southside St., Plymouth, Devon
PL1 2LD England; [email protected];
www.45southside.co.uk; 44 1752 224974. Primarily
sculptural, and figurative works; Devon and
Cornwall artists; representing 15 clay artists. 3
clay per year.
Harlequin Gallery, 2 St. Merryn Close, London
SE18 2RF England; [email protected]; 44 20 854
0330; www.studio-pots.com. Primarily exhibiting
contemporary ceramics; functional works; emphasis
on wood-fired work; representing Richard Batterham,
Deirdre Burnett, Nic Collins, Geoffrey Eastop,
Katerina Evangelidou, Yuriko Hill, Hajimu Kato,
Ursula Mommens, Linda de Nil, and Takuro Shibata.
Rugby Art Gallery and Museum, Crafts Conservatory,
Little Elborow St., Rugby, Warwickshire CV21 3BZ
England; [email protected]; www.ragm.org.uk;
01788 533201.
Marsden Woo Gallery, 17–18 Great Sutton St.,
London EC1V 0DN England; [email protected];
www.marsdenwoo.com; 44 20 7336 6396. Primarily
figurative works; 5 clay exhibitions per year.
Paul Rice Gallery, 105 Arlington Rd., London
NW1 7ET England; [email protected];
44 207419 6280. Primarily exhibiting historical
ceramics; functional and sculptural works; 20th
century British studio ceramics; representing 20+
clay artists; Michael Cardew, Bernard Leach, William
Staite Murray, and Lucie Rie; 4 clay exhibitions per
The British Museum, Great Russell St., London WC1B
3QQ England; [email protected];
www.britishmuseum.org; 44 0 20 7323 8299. 1–2
clay exhibitions per year. Permanent collection of
ceramics spanning world cultures.
Vessel, 114 Kensington Park Rd., London
W11 2PW England; [email protected];
www.vesselgallery.com; 44 20 7727 8001. Primarily
clay exhibitions per year; 1–2 exhibitions including
clay per year.
Victoria & Albert Museum, Cromwell Rd.,
London SW7 2RL England; [email protected];
www.vam.ac.uk; 44 20 7589 5070. Primarily
over 10 clay artists. 5–6 clay exhibitions per year.
Rye Art Gallery, Easton Rooms, 107 High St., Rye, Sussex
TN31 7JE England; [email protected];
http://ryeartgallery.co.uk; 01797 222433. Primarily
representing 17 clay artists.
Farfield Mill Arts & Heritage Centre, Garsdale
Rd., Sedbergh, Cumbria LA10 5LW England,
[email protected]; www.farfieldmill.org;
ceramics; figurative works; representing 12 clay
artists. 1 clay exhibition per year; 15 exhibitions
Craftco, 40A High St., Southwold, Suffolk IP18
6AE England; [email protected]; 01502
723211; www.craftco.co.uk. Primarily exhibiting
per year.
Leach Pottery, Higher Stennack, St. Ives, Cornwall
TR26 2HE England; [email protected];
www.leachpottery.com; 44 0 1736 799 703. Primarily
functional works; representing 45–50 clay artists. 4
St. Ives Ceramics, 1 Lower Fish St., St. Ives, Cornwall
TR26 1LT England; [email protected];
www.st-ives-ceramics.co.uk; 44 17 3679 4930.
artists. Permanent collection of Hans Coper, Shoji
Hamada, Bernard Leach, William Marshall, Colin
Pearson, Lucie Rie, Tatsuzo Shimaoka, and Kenkichi
Tomimoto; 2 clay exhibitions per year.
Lantic Gallery, 38 Gold St., Tiverton, Devon
EX16 6PY England; [email protected];
lanticgallery.co.uk; 01884-259888. Primarily
Forge Gallery, The Street, Walberton, West
Sussex BN18 0PQ England; [email protected];
www.forgegallerywalberton.co.uk; 01243 554818.
representing 20+ clay artists; Jennifer Allsopp,
Michael Braisher, John Evans, Felicity LloydCoombes, Eric James Mellon, Keith Menear, Alison
Milner-Gulland, Steve Tootell, and Maurice Young;
clay per year.
Jonathan Garratt FRSA, Hare Lane Farmhouse,
Cranborne, Wimborne, Dorset BH21 5QT England;
[email protected]; jonathangarratt.com;
01725-517700. Primarily exhibiting contemporary
ceramics; functional works; wood-fired terra cotta
and slipware; representing 4 clay artists. 2 clay
per year.
Walford Mill Crafts, Stone Ln., Wimborne, Dorset
BH21 1NL England; [email protected];
walfordmillcrafts.co.uk; 01202-841400. Primarily
exhibiting contemporary ceramics; 8 exhibitions
Bevere Gallery, Bevere Ln., Worcester WR3
7RQ England; [email protected];
http://beveregallery.com; 01905 754 484. Primarily
Porta Dextra Gallery, 1A High Petergate, York,
Yorkshire YO1 7EN England; 01904-673673;
[email protected].
Pyramid Gallery, 43 Stonegate, York, North
Yorkshire YO1 8AW England; 44 19 0464
www.pyramidgallery.com. Primarily exhibiting
figurative works; British ceramics; representing Peter
Beard, John Jelfs, Sall MacDonell, John Maltby,
Duncan Ross, Geoffrey Swindell, and David White.
clay per year.
France
Galerie Capazza, 1 rue des Faubourgs, Nançay
18330 France; [email protected];
www.capazza-galerie.com; 33 2 48 51 80 22.
sculptural, functional, and figurative works; national
and international ceramics; representing 30 clay
artists; 3 clay exhibitions per year. Permanent
collection of 30+ contemporary ceramic artists.
Galerie Helenbeck, 6 rue Defly, Nice 06000 France;
[email protected]; 33 0 4 93 54 22 82;
www.helenbeckgalerie.com.
Bernardaud Fondation, 11 rue Royale, Paris 75008
France; [email protected]; www.bernardaud.fr;
33 01 43 12 52 06. Primarily exhibiting contemporary
Musee de la Poterie Mediterraneenne, 14,
rue de la Fontaine Maison de la Terre, Saint
Quentin la Poterie 30700 France; 00 03 04 66
http://musee-poterie-mediterranee.com. Primarily
exhibiting historical ceramics; functional works
and traditional ceramics from artists in various
Mediterranean countries.
Terra Viva Galerie, 14 rue de la Fontaine, Saint Quentin
la Poterie 30700 France; [email protected]; 33
4 66 22 48 78; www.galerie-terraviva.com. Primarily
exhibiting contemporary ceramics; French and
European ceramics; representing Claude Champy,
Christine Fabre, Jean-Francois Fouilhoux, Dany
Jung, Catherine Vanier, and Michel Wohlfahrt. 4–5
Sèvres-Cité de la céramique, 2 Place de la Manufacture,
Sèvres 92310 France; [email protected];
www.sevresciteceramique.fr; 33 0 1 46 29 22 00.
A.I.R. Vallauris, Place Lisnard, 1 Boulevard des Deux
Vallons, Vallauris 06220 France; 33 616 58 39 56;
[email protected]; www.air-vallauris.com.
102
october 2011
Cowan’s Auctions Inc. presents
Cowans + Clark + DelVecchio
Modern Ceramic + Craft Auctions
Chicago | November 4 & 5 | 2011
NEW! Legends: Material Masters
November 4, Evening
Ceramic Art and Design
November 5, 10:00 AM
Featured Artists:
Josef Albers
Arman
Rudy Autio
Gijs Bakker
Herbert Beyer
Dale Chihuly
Dan Dailey
Richard DeVore
Rick Dillingham
Michele Oka Doner
Ruth Duckworth
Viola Frey
Jeff Koons
Shoji Hamada
Bernard Leach
Bodil Manz
John Mason
John McQueen
Ron Nagle
Jackson Pollock
Lucie Rie
Ken Price
Kiff Slemmons
Akio Takamori
Peter Voulkos
Beatrice Wood
Contact: Mark Del Vecchio | 917.318.0768 | [email protected]
Cowan’s Auctions | 6270 Este Avenue | Cincinnati, OH 45232
Visit us on Facebook: Cowans-Clark-DelVecchio
Cowans Auctions, Inc. - Illinois License 444.000424
Charles Wesley Cowan, Managing Auctioneer - Illinois License 441.001724
Ken Price Untitled
(Architectural Cup Series)
1972-3
Glazed ceramic
Estimate $90,000-$150,000
The Auctioneer will collect and retain from the Buyer, as additional commission, a
buyer’s premium equal to 17.5% of the Sale Price of each Lot up to and including
$200,000, plus 12.5% of the amount by which the Sale Price exceeds $200,000.
cowans.com
october 2011
103
104
october 2011
ODYSSEY CENTER FOR CERAMIC ARTS
RESIDENT ARTISTS SHOW
OCTOBER 28, 2011 to JANUARY 2, 2012
ROBERTS
LONNEMANN
PARADIS
www.odysseyceramicarts.com
[email protected]
238 Clingman Avenue, Asheville NC 28801
828-285-0210
BUSS
AREND
COLLECT(IVE) COMPONENTS
MASSEY
october 2011
105
Germany
gallery guide 2012
Ceramics Center Berlin, Ossietzkystr. 13, 2. Row,
Berlin 13187 Germany; [email protected];
www.ceramics-berlin.de; 0049 0 30 49902591.
functional and sculptural works; 6–8 clay exhibitions
per year.
Galerie Theis-Keramik, Schustehrusstr. 15,
Berlin 10585 Germany; [email protected];
www.galerietheis.de; 030 321 23 22. Primarily
sculptural works; studio pottery from Germany,
Austria, and Switzerland; representing 50 clay
Keramik-Museum Berlin (KMB), Schustehrusstr.
13, Berlin, Charlottenburg 10585 Germany;
www.keramik-museum-berlin.de. Primarily exhibiting
historical ceramics; functional and sculptural works;
Central European ceramics; 7 clay exhibitions per
year. Permanent collection of European ceramics
1850–present.
Keramik-Museum Buergel, Am Kirchplatz 2,
Buergel D-07616 Germany; 49 0 36692
37333 ; p o s t @ k e r a m i k - m u se u m - b u e r g e l.d e ;
www.keramik-museum-buergel.de. Primarily exhibiting
and functional works; 4 clay exhibitions per year.
Permanent collection of 1660–present Buergel
stoneware and decorated pottery, ceramics of
Historism, Art Nouveau, and Bauhaus.
Kontrapunkte, Neue Weyerstraße 9, Cologne
D-506 7 6 G e r m a n y ; i n fo @ ko n tr a p u n kte .n e t;
www.kontrapunkte.net; 49 0 221 39757631. Primarily
Galerie Keramikum, Untere Mühlstr. 26, Darmstadt
64291 Germany; [email protected];
www.keramikum.de; 49 61 513 7886.
Hetjens-Museum Deutsches Keramikmuseum,
Schulstrasse 4, Düsseldorf D-40213 Germany;
www.duesseldorf.de/hetjens. Primarily exhibiting
historical ceramics; works; 4 clay exhibitions per
year. Permanent collection of 8000 years of ceramics.
Museum Eckernforde, Rathausmarkt 8,
Eckernforde , Schleswig-Holstein D-24340
Germany; [email protected]; 49 0
4351 712547; http://eckernfoerde.net. Primarily
representing 40 clay artists; 1–2 clay exhibitions per
year; 1 exhibition including clay per year. Permanent
collection of 18th century Eckernfoerde faience.
Kunst im Blauen Haus, Am Urselbach 4, Frankfurt
D-60594 Germany; [email protected]; 49 0
95810593; http://imblauhaus.de. Primarily exhibiting
contemporary ceramics; sculptural, figurative,
and installation works; representing 5 clay artists;
Hans Fischer, Christin Müller, Susanne Petzold,
Ulrike Schräder, Petra Toeppe-Zenker, and Martin
Mac William.
KERAMION Foundation, Bonnstraße 12, Frechen
50226 Germany; [email protected]; 49 22 346
97690; www.keramion.de. Primarily exhibiting
works; 6 clay exhibitions per year. Permanent
collection of Pingsdorf ware, Rhenish stoneware
and earthenware, Bellarmine jugs from Frechen, and
contemporary work by over 500 artists.
Galerie Frederik Bollhorst, Oberlinden 25, Freiburg
D-79098 Germany; [email protected]; 49 151
15 77 60 33; www.galerie-bollhorst.de.
Galerie Marianne Heller, Friedrich-Ebert-Anlage 2,
Stadtgarten, Heidelberg, BW D-69117 Germany;
[email protected]; www.galerie-heller.de; 49
ceramics; sculptural and vessels works; international;
6 clay exhibitions per year. Permanent collection of
Japanese contemporary work.
Kasino, Kasinostrasse 7, Höhr-Grenzhausen
D-56203 Germany; [email protected];
www.kultur-kasino.de; 49 0 2624 9460 10. Primarily
sculptural, and figurative works; contemporary
German and international ceramics; representing 10
clay artists; Marianne Eggimann, Andreas Hinder,
106
october 2011
Kordula Kuppe, Uta Minnich, Martin Möhwald,
Johannes Nagel, Sandra Nitz, Elke Sada, and Nicole
Thoss; 3 clay exhibitions per year.
sculptural works; Israeli ceramics; representing 15
Keramikmuseum Westerwald, German Collection for
Historical and Contemporary Ceramics, Lindenstraße
13, Höhr-Grenzhausen D-56203 Germany;
[email protected]; www.keramikmuseum.de;
and historical ceramics. Permanent collection of
historical and contemporary international ceramics.
ChomerTov, 27 Shabazi St., Tel Aviv 65150 Israel;
www.chomertov.co.il; 972 3 5166229. Primarily
Grassi Museum für Angewandte Kunst,
Johannisplatz 5-11, Leipzig 04103 Germany;
[email protected]; www.grassimuseum.de;
49 0 341 22 29 100.
Galerie Forum, Dagobertraße 4, Mainz D-55116
Germany; [email protected]; 06131 5860066;
http://galerieforum.com.
Galerie Handwerk, Max-Joseph Straße 4, München
80333 Germany; [email protected];
www.hwk-muenchen.de/galerie; 49 89 595 584.
Primarily exhibiting contemporary ceramics.
Galerie Knyrim, Hinter der Pfannenschmiede 3,
Regensburg D-93047 Germany; 49 0 941 55427;
[email protected]; http://galerie-knyrim.eu.
Primarily exhibiting contemporary ceramics; sculptural
and figurative works; narrative ceramics from
Czech Republic, Poland, Hungary, and Slovakia;
Internationales Keramik-Museum, Luitpoldstraße
25, Weiden D-92637 Germany; 49 0 961 320
www.die-neue-sammlung.de. Primarily exhibiting
works; representing 100+ clay artists; 1–2 clay
exhibitions per year. Permanent collection of Die
Neue Sammlung and 19th–21st century ceramics.
Belinda Berger Gallery, Muehlenbrink,
Westerstede, Lower Saxony D-26655 Germany;
[email protected]; 49 0 44 88 52 53
91; www.belindaberger.de. Primarily exhibiting
and figurative works; 3 clay exhibitions per year; 1
Hungary
MUSEION, The Gallery of The International Ceramics
Studio, Kápolna u.11, Kecskemét H-6000 Hungary;
[email protected]; www.icshu.org; 36 76 486 867.
representing 12 clay artists; 12 clay exhibitions
per year. Permanent collection of collection of over
3000 pieces.
India
Thakurs Art Studio, Plot-323/D-45, Sec-3, Charkop
Kandivali (W), Mumbai, Maharastra 400067 India;
[email protected]; www.thakursart.com;
ceramics; sculptural, figurative, and installation
works; representing 5 clay artists; Priyanshu Thakur;
clay per year.
Ireland
Leitrim Design House, The Dock Arts Centre,
Carrick-on-Shannon, County Leitrim, Ireland;
[email protected]; 00 353 7196 50550;
leitrimdesignhouse.ie.
L o u th Cr a ftmark at H i ghl anes Gal l ery, St.
Laurence St., Drogheda, County Louth, Ireland;
[email protected]; www.louthcraftmark.com;
works; Northeast Ireland ceramics; representing 12
Gallery Zozimus, 56 Francis St., Dublin 8 Ireland;
[email protected]; www.galleryzozimus.ie;
per year.
Israel
Cadim Ceramics Gallery, 4 Yoel Salomon St., Nachlat
Shiva, Jerusalem 94633 Israel; [email protected];
www.cadim-gallery.co.il; 972 2 623 4869. Primarily
Italy
La Meridiana, Loc Bagnano, 135, Certaldo,
Firenze 50052 Italy; [email protected]; 39
0571 660084; www.lameridiana.fi.it. Primarily
contemporary functional stoneware and porcelain,
contemporary terra cotta sculpture; representing 3
clay artists; Pietro Maddalena, Donna Polseno, Luca
Tripaldi; 2 clay exhibitions per year; 1 exhibition
Ab Ovo Gallery, Via del Forno 4, Todi (PG) 06059 Italy;
[email protected]; www.abovogallery.com; 39
representing Antonella Cimatti, Dorothy Feibleman,
Gabriele Hain, Kati Juenger, Rebecca Maeder,
Marta Pachon Rodriguez, Roland Summer, Tina
Vlassopulos, Ane Katrine von Buelow, and Sasha
Wardell. 3 clay exhibitions per year.
Japan
Shigaraki Ceramic Cultural Park, The Museum of
Contemporary Ceramic Art, 2188-7 ShigarakichoChokushi, Koka City, Shiga Pref. 529-1804 Japan;
[email protected]; www.sccp.jp; 81 74 883 0909.
Specializing in national and international ceramics;
The Museum of Oriental Ceramics, Osaka, 1-1-26
Nakanoshima, Kita-ku, Osaka 530-0005 Japan;
[email protected]; www.moco.or.jp; 81 66 223
0055. Chinese, Japanese, and Korean ceramics;
Sakuraba Gallery, 45 Kawauchi, Aoba-ku, Sendai
980-8576 Japan; [email protected];
www.sakurabagallery.info.
Museum of Modern Ceramic Art, Gifu, 4-2-5 Higashimachi, Tajimi City, Gifu-ken 507-0801 Japan;
[email protected]; www.cpm-gifu.jp/museum;
and historical ceramics; functional, sculptural,
figurative, and installation works; national and
international ceramics; representing 300 clay artists;
Toyozo Arakawa, Hans Coper, Otto Lindig, Kozan
Miyagawa, Masahiro Mori, Kenkichi Tomimoto,
and Peter Voulkos; 10 clay exhibitions per year.
Permanent collection of modern ceramic art and
practical ceramics from 19th century–present.
Gallery St. Ives, 3-5-13 Fukasawa, Setagaya-ku,
Tokyo 158-0081 Japan; [email protected];
www.gallery-st-ives.co.jp; 81 33 705 3050. Primarily
functional works; 20th–21st century British and
Japanese ceramics; representing 20 clay artists;
5–6 clay exhibitions per year. Permanent collection
of works by Clive Bowen, Hans Coper, Jack Doherty,
Shoji Hamada, Tomoo Hamada, Lisa Hammond,
Walter Keeler, Chris Keenan, Bernard Leach, Ken
Matsuzaki, Lucie Rie, and Phil Rogers.
Yufuku Gallery, Annecy Aoyama 1st Floor, 2-612 Minami-Aoyama, Tokyo Minato-Ku 107-0062
Japan; [email protected]; 81 3 5411 2900;
www.yufuku.net.
The Netherlands
Kerámevo, Langegracht 14, Amersfoort 3811
BT The Netherlands; [email protected];
www.keramevo.com; 31 33 461 32 30. Primarily
exhibiting contemporary ceramics; Dutch ceramics;
per year.
De Nieuwe Kerk Amsterdam, Dam te Amsterdam,
Amsterdam, The Netherlands; [email protected];
www.nieuwekerk.nl; 020-626 81 68.
European Makers Gallery, Spiegelgracht 2a sous,
Amsterdam, Holland 1017 JR The Netherlands;
[email protected]; 31 20 622 30 88;
www.europeanmakers.nl. Primarily exhibiting
figurative works; young and established European
october 2011
107
108
october 2011
october 2011
109
artists; representing 40–50 clay artists. Permanent
collection of contemporary ceramics, glass,
paintings, and sculpture.
gallery guide 2012
Galerie Carla Koch, Veemkade 500, Amsterdam
1019 HE The Netherlands; [email protected]; 31 20
673 73 20; www.carlakoch.nl. Primarily exhibiting
functional works; national and international ceramics;
Galerie De Witte Voet, Kerkstraat 135, Amsterdam
1017 GE The Netherlands; [email protected];
31 20 625 84 12; www.galeries.nl/dewittevoet. Primarily
exhibiting contemporary ceramics; solo exhibitions
of ceramics artists from Belgium, England, France,
Japan, The Netherlands, and Spain; representing 25
JBK Gallery, Korte Leidsedwarsstraat
159, Amsterdam 1017 RA The Netherlands;
[email protected]; www.jeroenbechtold.nl;
ceramics; sculptural and functional works; porcelain;
representing 1 clay artist; Jeroen Bechtold; ongoing
Rijksmuseum Amsterdam, Postbus 74888,
Amsterdam 1070 DN The Netherlands; 310 20
6747000; [email protected]; www.rijksmuseum.nl.
ceramics; sculptural and functional works.
Galerie Terra Delft, Nieuwstraat 7, Delft 2611 HK The
Netherlands; [email protected]; www.terra-delft.nl;
ceramics; national and international ceramics,
primarily European; representing 55 clay artists. 12
Museum Lambert van Meerten, Oude Delft 199, Delft
2611 HD The Netherlands; [email protected];
www.lambertvanmeerten-delft.nl; 015 260 23 58.
Loes & Reinier International Ceramics, Korte
Assenstraat 15, Deventer 7411 JN The Netherlands;
[email protected]; www.loes-reinier.com; 31
works; contemporary French ceramics; representing
50 clay artists. 8 clay exhibitions per year; 1
Princessehof Museum of Ceramics, Grote Kerkstraat
11, Leeuwarden 8900 CE The Netherlands;
[email protected]; www.princessehof.nl; 31 58
294 89 58. Primarily exhibiting contemporary and
historical ceramics; functional, sculptural, figurative,
and installation works; representing 20+ clay artists;
clay per year. Permanent collection of Asian,
European, and Persian ceramics, including Dutch
and Middle Eastern tilework.
Museum Boijmans Van Beuningen, Museumpark
18-20, Rotterdam 3015 CX The Netherlands;
[email protected]; www.boijmans.nl; 010 44 19
400. Primarily exhibiting historical or contemporary
international works from England, Germany, The
Netherlands, and Scandinavia; 1–2 clay exhibitions
Sm’s–Stedelijk Museum’s-Hertogenbosch,
Magistratenlaan 100, ‘s-Hertogenbosch NL 5223
MB The Netherlands; [email protected]; www.sm-s.nl;
and historical ceramics; 4 clay exhibitions per year.
Norway
Galleri Format, Rådhusgata 24, Oslo 0151 Norway;
[email protected]; www.format.no; 47 22 41 45
40. Primarily exhibiting contemporary ceramics;
PeopleÕ s Republic of China
The Pottery Workshop c2 Gallery, Jingdezhen
Sculpture Factory, Jingdezhen, Jiangxi 333001
PR China; [email protected];
www.potteryworkshop.com.cn; 86798 844 0582.
sculptural, functional, and figurative works;
contemporary Chinese ceramics; representing
20 clay artists; Li Benben, Caroline Cheng, Shen
Cheng Cheng, Wang Hao, Wu Hao, Libby Lee, Qi
Ming, Shan Zhe Qi, Dryden Wells, Takeshi Yasuda,
and Gao Yifeng.
110
october 2011
The Pottery Workshop Shanghai, 2nd Floor,
220 Taikang Lu, Shanghai 200025 PR China;
www.potteryworkshop.com.cn. Primarily exhibiting
figurative works; contemporary Chinese ceramics;
representing 20 clay artists; Li Benben, Caroline
Cheng, Shen Cheng Cheng, Wang Hao, Wu Hao,
Libby Lee, Qi Ming, Shan Zhe Qi, Dryden Wells,
Takeshi Yasuda, and Gao Yifeng; 8–10 clay
Mairie de Carouge, Place du Marché 14,
Carouge 1227 Switzerland; musee@carouge.
ch; www.carouge.ch; 022 307 89 87. Primarily
sculptural works.
Scotland
Centre d’édition Contemporaine, 18 rue St. Léger,
Geneva 1204 Switzerland; [email protected]; 41 22 310
51 70; www.c-e-c.ch. Primarily exhibiting contemporary
The Strathearn Gallery, 32 W. High St., Crieff, Perthshire
PH7 4DL Scotland; [email protected];
www.strathearn-gallery.com; 44 176 465 6100.
Primarily exhibiting contemporary ceramics; Scottish
ceramics; 8 exhibitions including clay per year.
National Museum of Scotland, Chambers St.,
Edinburgh EH1 1JF Scotland; [email protected];
www.nms.ac.uk; 44 131 247 4422. Primarily exhibiting
historical and contemporary ceramics; British and
European pottery and porcelain; representing
Hans Coper, Pippin Drysdale, Ken Eastman, Philip
Eglin, and Lucie Rie. Permanent collection of Italian
maiolica, tin-glazed earthenware, German stoneware,
Wemyss ware, and contemporary ceramics.
Open Eye Gallery, 34 Abercromby Pl., Edinburgh
EH3 6QE Scotland; [email protected];
www.openeyegallery.co.uk; 44 131 557 1020.
contemporary; representing 40 clay artists. 15 clay
The Adam Pottery, Gallery & Studios, 76
Henderson Row, Edinburgh EH3 5BJ Scotland;
[email protected]; adampottery.co.uk; 01315573978. Primarily exhibiting contemporary
ceramics; fuctional, non-fuctional, and sculptural
works; representing 6 clay artists; Janet Adam,
Michelle Aitken, Chris Donnelly, Helen Foster, Lara
Scobie, and Fiona Thompson.
The Scottish Gallery, 16 Dundas St., Edinburgh
EH3 6HZ Scotland; [email protected];
www.scottish-gallery.co.uk; 44 0131 558 1200.
works; European, Japanese, and Australian artists;
Roger Billcliffe Gallery, 134 Blythswood St.,
Glasgow, Strathclyde G2 4EL Scotland;
[email protected]; www.billcliffegallery.com;
per year.
J.Jardine Gallery and Workshop, 45 New Row,
Perth PH1 5QA Scotland; [email protected];
www.julianjardine.co.uk; 44 1738 621836. Primarily
and functional works; focus on natural forms;
representing 5+ clay artists; Interlude Ceramics,
Penkridge Ceramics, Karen Fawcett, Chris Hawkins,
Julian Jardine, and Timea Sido; 4 clay exhibitions per
Fife Contemporary Art & Craft, Town Hall, Queen’s
Gardens, St. Andrews KY16 9TA Scotland;
[email protected]; www.fcac.co.uk; 01334 474610.
Primarily exhibiting contemporary ceramics.
Switzerland
Galerie Fur Gegewartskunst, Im Dorfzentrum
Burgwies 2, Bonstetten CH-8906 Switzerland;
[email protected]; http://ggbohrer.ch; 41 044 700
32 10. Primarily exhibiting contemporary ceramics;
sculptural and figurative works; representing 10
clay artists; Walter Altorfer, Jurg Bachtold, Gabrile
Hagenhoff, Mireille Lavanchy, Rebecca Maeder,
Gudrun Petzold, Etiye Dimma Poulsen, Josette
Taramarcaz, Seung-Ho Yang, and Kaspar Wurgler;
2–3 clay exhibitions per year; 2–3 exhibitions
Fondation Bruckner, pour la promotion de la
céramique, 38, ch. de Grange-Collomb, Carouge
CH-1227 Switzerland; [email protected];
www.ceramique-bruckner.ch; 41 22 300 07 18. Primarily
exhibiting historical and contemporary ceramics.
Association du Parcours Céramique Carougeois, Ch.
de Grange-Collomb 38, Carouge, Geneva CH-1227
Switzerland; [email protected];
www.parcoursceramiquecarougeois.ch; 41 0 22 300
07 18. Primarily exhibiting historical and contemporary
Foundadtion Baur, Musée des Arts d’Extrême Orient,
8 Rue Munier Romilly, Geneva 1206 Switzerland;
[email protected]; http://fondation-baur.ch;
41 22 704 32 82. Primarily exhibiting historical and
Musée Ariana, Ave. de la Paix 10, Geneva CH-1202
Switzerland; [email protected]; 41 0 22 418 54 55;
www.ville-geneve.ch/ariana. Primarily exhibiting
and sculptural works; ceramics from the Middle
Ages–present in Europe, the Middle East, and the
Far East; representing 200+ clay artists; 2 clay
exhibitions per year. Permanent collection of 27,000
objects from seven centuries of ceramics.
Kunstforum Solothurn, Schaalgasse 9, Solothurn
CH-4500 Switzerland; [email protected];
www.kunstforum.cc; 0041 32 621 38 58. Primarily
figurative works; representing 20 clay artists. 6 clay
Robin Relph Contemporary, Bahnhofstrasse 21, Zug
6304 Switzerland; [email protected];
www.robinrelphcontemporary.com; 604 737 0203.
representing 1 clay artist; Kathy Venter; 3 clay
per year.
Taiwan
Taipei City Yingge Ceramics Museum, No. 200,
Wenhua Rd., New Taipei City, Yingge Dist. 23942
Taiwan, R.O.C; [email protected]; 886 2 86772727 ext. 509; www.ceramics.tpc.gov.tw. Primarily
Wales
The Ceramic Gallery at Aberystwyth Arts Centre,
School of Art, Aberystwyth University, Buarth
Mawr, Aberystwyth, Ceredigion SY23 ING
Wales; [email protected];
www.ceramics-aberystwyth.com; 0044 01970
622192. Primarily exhibiting contemporary ceramics;
functional and sculptural works. Permanent
collection of contemporary British studio ceramics.
National Museum Cardiff, Cathays Park, Cardiff
CF10 3NP Wales; [email protected];
www.museumwales.ac.uk; 44 2920 397 951.
ceramics; functional works; European ceramics from
the 16th–21st centuries; Welsh pottery and porcelain
from Swansea and Nantgarw; representing 80 clay
Glynn Vivian Art Gallery, Alexandra Rd., Swansea SA1
5DZ Wales; [email protected];
www.glynnviviangallery.org; 44 17 9251 6900. Primarily
Welsh ceramics; 2 clay exhibitions per year.
Mission Gallery, Gloucester Place, Maritime Quarter,
Swansea SA1 1TY Wales; [email protected];
www.missiongallery.co.uk; 44 1792 652 016. Primarily
Helen Beard, Susan Binns, Bryony Burns, Robert
Goldsmith, Virginia Graham, Christine Jones, Jill
Fanshawe Kato, Lisa Katzenstein, Walter Keeler,
and Keith Munro.
Victoria Fearn Gallery, 6 b Heol y Deri, Rhiwbina Cardiff
CF14 6HF Wales; [email protected];
www.victoriafearngallery.co.uk; 44 29 2052 0884.
Primarily exhibiting contemporary ceramics; 6–8
october 2011
111
40 Beech Street
Port Chester, NY 10573
SHOP & GALLERY
Hours: Monday – Saturday, 10am – 4pm and by appointment
www.clayartcenter.org
[email protected]
(914) 937 2047
Come experience the new SHOP at CAC, featuring
handmade, oneôfâ^kind clay art by CAC artists and
guest artists from across the United States
www.clayartcenter.org
UPCOMING EXHIBITIONS
All exhibitions can be seen online!
In | Form: Jill Oberman & Jury Smith
October 1 – 29, 2011
Sean O’Connell: Anecdote
November 5 – 26, 2011
Clay-Holiday: Annual Holiday Sale
December 1 – 23. 2011
UPCOMING WORKSHOPS & LECTURES
PINCH S�B COIL:
Sat – Sun, Oct 1 – 2, 10am – 5pm
Using Templates to Master the Basics with Jill Oberman
BENEATH THE SURFACE:
A Workshop with Sean O’Connell
Sat, Nov 5, 10am – 5pm
LECTURE:
Fri, Nov 11, 7pm
Sana Musasama - My Cambodian Journey Through Art and Travel, 2007 - 2011
THE NARRATIVE FIGURE:
A Workshop with Debra Fritts
112
october 2011
Sat – Mon, Jan 14 – 1610am – 5pm
october 2011
113
114
october 2011
The Makings II
+ Barbara Tipton
November 1 - 30,
Reception: November 5, 2-5 pm
Featuring a solo show by Barbara Tipton
with an group exhibition of gallery
and invited ceramic artists.
Barbara Tipton
Thunderhead Blue, 2011
wall piece, 10x8x3” (26x20x8cm)
110 Bison Courtyard, 211 Bear Street
Banff, Alberta, Canada
403.762.2214
1.866.859.2220
[email protected]
www.willockandsaxgallery.com
Gallery Artists:
John Chalke RCA
Barbara Tipton
Neil Liske
Les Manning
Bradley Keys
Ed Bamiling
Historical works by:
Luke Lindoe RCA
Walter Drohan RCA
october 2011
115
116
october 2011
october 2011
117
SANTA FE CLAY
C O N T E M P O R A R Y
C E R A M I C S
545 Camino de la Familia, Santa Fe, N M 87501
phone 505.984.1122 www.santafeclay.com
118
october 2011
october 2011
119
America’s Most Trusted Glazes™
“I combine and mix in multiple
firings to get the effect I want.
Velvets are my favorites—I just
love them.”
Victor Spinski
amaco.com
120
october 2011
”Ode to the Vanishing American
Working Class” (2010)
Have you
seen the new
Aftosa?
Cone 5-6
PC-49
Frosted Melon
over
PC-59
Deep Firebrick
PC-59 as a base
Sake Bottle & Four Cups with Serving Tray
By Graciela Testa
Check out our new site
where you can find . . .
• Discount Prices . . . All The Time
Layering
PC-4
Palladium
over
PC-12
Blue Midnight
• Discount Flat Rate Shipping
• No Minimum Order
• Top Customer Service
• Quick Turn Around
• 98% In Stock On Over 3,500 Items
www.aftosa.com
800.231.0397
Follow us on
PC-12 as a base
50 combinations with instructions.
Go to LayeringAmacoGlazes.com
october 2011
121
122
october 2011
Continuing to lead the Way
Introducing Spectrum’s New Cone 4/6:
METALLIC GLAZES
1451 - Mars Scape
1452 - Foiled Chocolate
1453 - Golden Rule
1454 - Caribbean Cove
1455 -Viridian Gold
1456 - Blue Persuasion
tile design by: Igor Mintch Designs
For more information ask your distributor
or visit our website.
Want to know more right now? Scan the QR code.
94 Fenmar Dr
Toronto, ON
Canada
M9L 1M5
P.O. Box 874
Lewiston, NY
USA
14092-0874
Phone: (800)970-1970
Fax: (416)747-8320
www.spectrumglazes.com
[email protected]
85,000 members and growing! www.ceramicartsdaily.org
october 2011
123
124
october 2011
Join a discussion at www.ceramicartsdaily.org/forums
october 2011
125
POTTERS COUNCIL
126
october 2011
Potters Council — Celebrating 10 Years
{Est.2001}
NOW is the time to join an organization that works for you. Our member benefits touch
every aspect of your life — from money saving discounts, and eligibility for group health
insurance, to learning new techniques at conferences. Visit www.potterscouncil.org or
call 800.424.8698 to join and celebrate our 10th Birthday with us.
• 20% Discount on Magazines, Art Books and DVDs
• Affordable Health Insurance
• Member-Only Yearly Calendars
• Member-Only Juried Show
2011 NEW Member Benefits
• Online Member Directory
• Online Mentoring Program
• Online Juried Student Member Show
• International Potters Council Conference
DonÕ t miss our e-dition at www.ceramicsmonthly.org
october 2011
127
NEW
CALL
FOR
ENTRIES
12x16x½”
Accessories:
Canvas mats
8 piece tool kits
10x12x½”
8x8x½”
Our heavy duty
studio boards are the
perfect way to move,
stack and store artwork.
Safely transport works in progress.
• Strong
• Lightweight • Will not warp
• Absorbent • No flexing • Pre-drilled for hanging
All sizes available for under $5.00
Discount pricing and accessories at
continentalclay.com
1101 STINSON BOULEVARD NE, MINNEAPOLIS, MN 55413
1-800-432-CLAY
CONTINENTALCLAY.COM
2012
Potters Council
Juried Show
“The Chromatic Edge”
Seattle, WA
Exhibit Dates:
March 28-30, 2012
Deadline to Submit:
September 1, 2011
For more details go to:
www.potterscouncil.org
Tons of great clay videos at www.ceramicartsdaily.org
128
october 2011
ORDER
YOUR COPY
TO DAY !
Price: $34.95 | Order code: CA32 | ISBN: 1-57498-167-6
Published 2006 | Softcover | 176 pages | 150+ photos & illustrations
W W W . C E R A M I C A R T S D A I LY. O R G / B O O K S T O R E
october 2011
129
C e ra m ic Tran sf e r P rin t in g
NEW RELEASE!
Now Shipping – Order Today!
Only $26.95
FREE SHIPPING
when you order online (US orders only)
Softcover | 144 Pages
www.ceramicartsdaily.org/bookstore
Ceramic transfers and decals provide an exciting creative potential for any ceramic artist.
With these techniques, you can transfer pictures, patterns or text onto both two- and
three-dimensional forms. Most importantly, printing on ceramics achieves distinct aesthetic effects not possible using any other decorating techniques.
Drawing on more than twenty years of experience, Kevin Petrie offers a focused analysis of
the potential of ceramic transfer printing as a creative medium. He traces the history of the
subject and explains the distinctive visual qualities of a range of transfer printing methods.
The specific materials and techniques for making versatile screen-printed ceramic transfers
are explained – from the ‘low tech’ to the more sophisticated. Other approaches by artist
researchers are also brought together and recent developments with digital transfers appraised. A range of case studies shows the potential and diversity of approach in this area,
which extends beyond ceramics to include enamel on metal and glass.
HANDBUILDING II
Joseph Pintz
Hayne Bayless
Potters Council
Regional Conference
February 3–5, 2012
San Diego, California
Hosted by:
Get Centered Clay,
www.getcenteredclay.com
Sandi Pierantozzi
Amy Sanders
Sandi Pierantozzi
Jackson Gray,
www.jackpots-pottery.com
Featured Artists:
Hayne Bayless,
Sandi Pierantozzi,
Joseph Pintz,
and Amy Sanders
Sponsors:
Aardvark Clay & Supplies,
www.aardvarkclay.com
AMACO/brent,
www.amaco.com
Space is limited. Call 800.424.8698.
www.potterscouncil.org | www.ceramicartsdaily.org/potters-council/workshops-2/
130
october 2011
The New
State-of-the-Art
Front-loading
Electric Kiln
From GEIL
Model EHW-12
• 12 cu. ft. (27” W x 27” D x 36” H)
• 3 zone controller
(Bartlett Controller
may be mounted
remotely)
• Built-in vent system
• Geil Guard coating
• Ventilated Shell
Easy Change
• Cone 10
Element System
(2350 Deg. F)
• Door Safety Interlock
• Drawer-type elements that connect in the
rear of the kiln
$7,500
FOB Huntington
Beach, CA
GEIL Firing Workshop in May
Check Our Website for Details
GEIL KILNS
www.kilns.com
8 0 0 • 8 8 7 • 4 3 4 5
[email protected]
october 2011
131
The Robin Hopper Trilogy
The Robin Hopper Trilogy covers every important aspect of creating ceramic art. The Ceramic Spectrum
guides you through a non-mathematical easy-to-understand journey for getting the colors and glazes you want.
In Functional Pottery, you’ll be able to develop your own designs and methods for the pots you use. And in
Making Marks you’ll discover the many possibilities of enriching your surfaces.
FORM
COLOR
SURFACE
Functional Pottery
The Ceramic
Spectrum
Making Marks
Form and Aesthetic
in Pots of Purpose
A Simplified Approach
to Glaze & Color
Development
Discovering the Ceramic
Surface
Only $44.95 each or you can SAVE 25%
when you order all three for just $99!
www.ceramicartsdaily.org/bookstore 866-672-6993
132
october 2011
call for entries
deadlines for exhibitions, fairs, and festivals
international
exhibitions
October 1 entry deadline
Washington, Seattle “Weather or Not”
(March 28–31, 2012) open to proposals
for large outdoor collaborative sculpture
work assembled on site, in conjunction
with NCECA. Juried from digital. No
fee. Email proposals to Charlie Bigger.
Contact Charlie Bigger, Bigger Studios,
4602 14th NW, Seattle, WA 98107;
[email protected]; 206-7893806; www.biggerstudios.com.
Slovenia, Ljubljana “2nd International
Ceramic Triennial UNICUM 2012” (May
15–September 30, 2012) open to ceramic work completed in the last three
years. Juried from digital. No fee for
three entries. Contact Ina Širca, ZDSLU
(Association of the Slovene Fine Arts
Societies), Komenskega 8, Ljubljana,
1000 Slovenia; [email protected]; 386 1
433 03 80; www.unicum.si.
November 18 entry deadline
Montana, Missoula “International
Cup 2012” (February 3–24, 2012) open
to ceramic work exploring the idea
of the cup. Juried from digital. Fee:
$22. Jurors: Jayson Lawfer and Emily Schroeder. Contact Jill Oberman,
The Clay Studio of Missoula, 1106 A
Hawthorne St., Missoula, MT 59802;
[email protected];
www.theclaystudioofmissoula.org; 406543-0509.
New York, Hudson “Emerging Artists
2012” (April 11–May 5, 2012) open to
all media. Juried from digital. Fee: $35
for four entries. Juror: Limner Gallery.
Contact Tim Slowinski, SlowArt Productions, 123 Warren St., Hudson, NY 12464;
[email protected]; www.slowart.com;
518-828-2343.
Tennessee, Franklin “YOUnite World
Tour 2012” (February 1–December 31,
2012). Juried from digital. Fee: $10.
Contact Kristin Abraham, The Nomadic
Project, 402 Boyd Mill Ave., Franklin, TN
nomadic-project.com/younite.html;
239-218-3470.
December 1 entry deadline
Texas, Houston “5th International
Texas Teapot Tournament” (January 13–31, 2012) open to functional
and sculptural teapots. Juried from
digital. Fee: $45 for two entries. Juror:
Cindi Strauss. Contact Karen Cruce,
18 Hands Gallery and C.A.M.E.O., 249
W. 19th St., Ste. B, Houston, TX 77008;
[email protected]; 713-8693099; www.18handsgallery.com.
France, Vallauris “Biennale Internationale de Céramique d’Art 2012”
(July 1–November 30, 2012) open to
ceramic work. Juried from digital. No
fee for three entries. Contact Comité
de la Biennale, Biennale Internationale
de Vallauris (BICC), Hôtel de Ville,
Place Jacques Cavasse, Vallauris,
06220 France; [email protected];
www.air-vallauris.com; 04 93 64 24 24.
united states
exhibitions
Maryland, Baltimore “Daily Companions” (March 3–April 14, 2012)
open to functional and dysfunctional
wares and cups. Juried from digital.
Fee: $30 for five entries. Jurors: Linda
Christianson and John Wilson. Contact
Mary Cloonan, Baltimore Clayworks,
5707 Smith Ave., Baltimore, MD 21209;
[email protected];
www.baltimoreclayworks.org; 410-5781919 ext.18.
California, Mendocino “‘To Go’
Ceramics Exhibition” (December 1–31)
open to vessel and sculptural creations.
Fee: $40 for three entries; or $15 each.
Juror: Christa Assad. Contact Mike
McDonald, Mendocino Art Center,
PO Box 765, Mendocino, CA 95460;
[email protected];
www.mendocinoartcenter.org; 707937-5818.
Florida, Panama City “Fourth Annual Cup Show: Form and Function”
(December 2–22) open to cups. Juried
from digital. Fee: $15 for three entries.
Juror: Linda Arbuckle. Contact Pavel
Amromin, Gulf Coast State College,
5230 West Hwy 98, Panama City, FL
32401; [email protected]; www.
gulfcoast.edu/arts/art/gallery/default.
htm; 850-769-3886.
Louisiana, Baton Rouge “8 Fluid Ounces 2012: A National Juried
Ceramics Cup Exhibition” (January
25–February 25, 2012) open to cups.
Juried from digital. Fee: $20 for three
entries. Juror: Kristen Keiffer. Contact
Malia Krolak, Louisiana State University
School of Art, 100 Lafayette St., Baton
Rouge, LA 70801; [email protected];
www.glassellgallery.org; 225-389-7180.
Michigan, Ann Arbor “Cups of Fire”
(January 29–March 3, 2012) open to
functional and sculptural cups. Juried
from digital. Fee: $25 for up to 3 entries.
Juror: Susan Beiner. Contact Yiu Keung
Lee, Clay Gallery, 335 S. Main St., Ann
Arbor, MI 48104; [email protected];
www.callforentry.org; 734-604-7596.
Texas, Laredo “Back to the Future”
(March 5–April 6, 2012) open to all
media including ceramics. Juried
Juror: Bruce Helander. Contact David
Bogus, Texas A&M International University, 5201 University Blvd., Laredo, TX
78041; [email protected]; 956326-3079; www.tamiu.edu/coas/fpa.
January 6, 2012 entry deadline
Kansas, Topeka “Crafts National”
(May 5–August 19, 2012) open to craft
media. Juried from digital. Fee: $35 for
three entries. Juror: Gail M. Brown. Contact Cindi Morrison, Mulvane Art Museum,
1700 SW College Ave., Topeka, KS 66621;
[email protected]; 785-6701124; www.washburn.edu/mulvane.
regional exhibitions
Ohio, Kettering “HxWxD Regional
Sculpture Competition 2011” (November 6–December 9) open to sculptural
work created in the last four years by IN,
KY, MI, OH, PA, and WV artists. Juried
Contact Amy Anderson, Coordinator,
Rosewood Gallery, Rosewood Arts
Centre, 2655 Olson Dr., Kettering, OH
www.ketteringoh.org; 937-296-0294.
Illinois, Peoria “3rd Biennial Central
Time Ceramics” (February 27–March
23, 2012) open to artists residing in the
Central Time Zone. Juried from digital.
Fee: $30 for five entries. Juror: Delores
Fortuna. Contact Erin Zellefrow, Bradley
University, 1501 W. Bradley Ave., Peoria, IL 61625; [email protected];
art.bradley.edu/bug/; 309-677-2989.
Florida, Gainesville “2012 Florida Artists Juried Exhibition” (January 13–February 8, 2012) open to work under 80 lb.
and no larger than 60 in. in any direction
created within the last year by FL artists.
Juried from digital. Fee: $40 for up to
three entries. Juror: Jack King. Contact
Roselie Tucker, Gainesville Fine Arts
Association, PO Box 357007, Gainesville, FL 32635; [email protected];
www.gainesvillefinearts.com; 352335-5643.
California, Pomona “Ink & Clay 38”
(March 15–April 27, 2012) open to
functional and sculptural ceramics,
drawing, and printmaking by artists
residing in AK, AZ, CA, CO, HI, ID,
MT, ND, NM, NV, OK, OR, SD, TX, UT,
WA, and WY. Juried from digital. Fee:
$30 for three entries. Jurors: Michelle
Deziel and Carol Sauvion. Contact
Shari Wasson, W. Keith and Janet
Kellogg University Art Gallery, 3801
W. Temple Ave., Pomona, CA 91768;
[email protected]; www.
csupomona.edu/~kellogg_gallery;
909-869-4302.
Illinois, Warrenville “Clay³” (March
2–April 1, 2012) open to functional and
sculptural work that fits within one cubic
foot by AK, IA, IL, KY, MI, MN, MO, OH,
TN, and WI artists. Juried from digital.
Fee: $30 for up to three entries. Juror:
Steven Hill. Contact Marie Gnesda, ClaySpace, 28W210 Warrenville Rd., Warrenville, IL 60504; [email protected];
www.clayspace.net; 630-393-2529.
Massachusetts, Lexington “The
State of Clay: 7th Biennial” (April 22–
May 20, 2012) open to current and
former residents of MA. Juried from
digital. Fee: $35 for three entries. Juror:
Doug Casebeer. Contact Ceramics
Guild, Lexington Arts and Crafts Society, 130 Waltham St., Lexington, MA
www.lacsma.org; 781-862-9696.
April 21, 2012 entry deadline
Washington, Seattle “Art in the
Columbarium” (May 4–December
31, 2012) open to 2D and 3D media
including painting, drawing, photography, sculpture, mixed media, and
installation. Juried from digital. No fee.
Contact Allison Brundage, Evergreen
Washelli, 11220 Aurora Ave. N, Seattle,
www.washelli.com; 206-362-5200.
fairs and festivals
Kansas, Topeka “Mountain/Plains Art
Fair” (June 2–3, 2012) open to original
artwork. Juried from digital. Fee: $30.
Contact Cindi Morrison, Mulvane Art
Museum, 1700 SW College Ave., Topeka,
KS 66621; [email protected];
www.washburn.edu/mulvane; 785670-1124.
March 1, 2012 entry deadline
Maryland, Gaithersburg “Sugarloaf
Crafts Festival in Gaithersburg” (April 13–
15, 2012) open to fine craft media. Juried
from digital or slides. Fee: $20. Contact
Lorrie Staley, Sugarloaf Mountain Works,
19807 Executive Park Cir., Germantown,
www.sugarloafcrafts.com/becomeex.
html; 800-210-9900.
Maryland, Timonium “Sugarloaf
Crafts Festival in Timonium” (April 27–29,
2012) open to fine craft media. Juried
html; 800-210-9900.
New Jersey, Somerset “Sugarloaf
Crafts Festival in Somerset” (March 9–11,
2012) open to fine craft media. Juried
html; 800-210-9900.
Pennsylvania, Oaks “Sugarloaf Crafts
Festival in Oaks” (March 16–18, 2012)
open to fine craft media. Juried from
digital or slides. Fee: $20. Contact Lorrie
Staley, Sugarloaf Mountain Works, 19807
Executive Park Cir., Germantown, MD
20874; [email protected]; www.
sugarloafcrafts.com/becomeex.html;
800-210-9900.
october 2011
133
classified advertising
Ceramics Monthly welcomes classifieds in the following categories: Buy/Sell, Employment, Events,
Opportunities, Personals, Products, Publications/Videos, Real Estate, Rentals, Services, Travel. Accepted
advertisements will be inserted into the first available print issue, and posted on our website for 30 days at no
additional charge! See www.ceramicsmonthly.org for details.
buy/sell
Tom Turner’s Pottery School.
For more details, please visit
www.tomturnerporcelain.com; or call
CUSTOM ENGRAVED STAMPS for
(828) 689-9430.
clay, PMC, and tile. Your signature,
mark, logo, or text. Great prices, excellent quality. Fully customized, from Pottery West in Las Vegas, NV. Tom
Coleman Hands-on Strictly Func$29. www.jetstamps.com.
tional Workshop January 19–22,
2012. Tom Coleman Sculptural
employment
Workshop June 4–10, 2012. Pottery
Classes, Studio Rental and OnImmediate Position for Experienced
site Housing. For more information
Production Potter. Put your potter’s
visit www.potterywest.com or call
mark on the pots you throw. Well
Ruth Kline at (702) 685-7573. Email
established salt-glazed stoneware
[email protected].
pottery, our 26th year in business.
Located in Dover, NH. Near Seacoast,
Boston, and White Mountains. Producopportunities
tion Hours 7am-3:30pm, M-F. Must
come in to throw for interview. Email Excellent opportunity for [email protected] or call owner ing wood firing in a natural Ozark
Andy Cochran at (603) 312-3808.
forest setting. Studio assistant desired in exchange for room, board,
small stipend, studio space and kiln
space —anagama, noborigama. Also
POTTERY IN PARADISE. Playa seeking participant for October firing.
Tamarindo, Costa Rica. Learn the For details contact Joe Bruhin (870)
ancient art of coil-built Pre-Columbian 363-4264; [email protected];
pottery. 5-day workshop tailored to www.joebruhin.com.
your schedule. $500.00. Contact
[email protected] or RESIDENCY—Cub Creek Foundawww.tamarindopottery.com.
tion will have resident openings in
events
D O N DAV I S WO R K S H O P I N
VIRGINIA — October 15–16th
— Fee $175. Student rate $75.
Meals included. More information at
www.cubcreek.org or (434) 248-5074.
NORTH COUNTRY STUDIO WORKSHOPS presents JAMES WATKINS
Clay Workshop: Alternative Firing
Techniques. Focusing on raku and
saggar firing along with throwing
large-scale forms. January 24–29,
2012 BENNINGTON COLLEGE, VT.
www.northcountrystudioworkshop.org;
[email protected]; or call (603)
380-4520.
134
october 2011
FULL MOON RIBS. Beautiful
hardwood ribs. Perfect for throwing bowls. Hand made in Kerrville, Texas. See a demo online.
www.fullmoonribs.dudleyharris.com
Ceramics Consulting Services offers
technical information and practical
advice on clay/glaze/kiln faults and
corrections, slip casting, clay body/
glaze formulas, salt glazing, product design. Call or write for details.
Jeff Zamek, 6 Glendale Woods Dr.,
pubs/videos
Southampton, MA 01073; (413) 5277337; e-mail [email protected]; or
PotteryVideos.com—DVD’s with www.jeffzamek.com.
Robin Hopper, Gordon Hutchens
and Graham Sheehan. Video Work- Custom Mold Making—Increase
shops for Potters at all levels of expe- your productivity and profits with
rience. Choose from 21 titles. (800) quality slip-casting molds of your
popular designs! Petro Mold Co. of668-8040; [email protected].
fers a complete range of mold-making
services, including sculpting and 3-D
Tom Turner’s 2-day workshop,
models, master and case molds, and
4-disc DVD set. To order, please visit production mold manufacturing to
www.tomturnerporcelain.com; or call thousands of satisfied customers. Visit
(828) 689-9430.
www.custommolds.net; or call (800)
404-5521 to get started.
real estate
Spring Green WI. Pottery studio &
house for sale. Retiring after 35+
years. 2000 sq.ft. studio/retail shop
plus 4 bedroom, 1 bath prairie-style
home, 3 car detached garage,
one+ acre in beautiful rural valley,
area known for tourism. Large customer base, good drive-in traffic. 45
November, January and March. Large miles west of Madison. $199,750.
studio spaces, new housing and www.wilsoncreekpottery.com. Call for
new gas, wood, soda and salt kilns. details, (608) 588-2195.
Beautiful rural Virginia on 100 acres
with ponds, gardens and wildlife.
services
More info at www.cubcreek.org or
jessiman@cubcreek .org.
Master Kiln Builders. 26+ years
experience designing and building
products
beautiful, safe, custom kilns for universities, colleges, high schools, art
GREAT NEW HANDBUILDING TEM- centers and private clients. Soda/salt
PLATES! Developed by Sandi Pier- kilns, wood kilns, raku kilns, stoneware
antozzi. A set of 24 durable, flexible, kilns, sculpture burnout kilns, car kilns
laminated templates to create circular and specialty electric kilns. Competi& conical forms. Perfect for potters or tive prices. Donovan. Phone/fax (612)
teachers! www.CircleMatic.com.
250-6208.
travel
Craft & Folk Art Tours. Christmas in
Oaxaca (Mexico), Southern India, Guatemala. Small, personalized groups.
CRAFT WORLD TOURS, 6776CM
Warboys, Byron, NY 14422. (585)
548-2667; www.craftworldtours.com.
Discovery Art Travel Overseas
Ceramic Workshops & Tours. Small
(Max. 12) culturally sensitive groups
using local interpreters and experts. Denys James, Canada; (250)
537-4906; www.denysjames.com;
[email protected].
Morocco 2011 Ceramics Excursion, October 13–November 3,
NEW ITINERARY, including Fez,
Chefchaouen, Essaouira, Volubilis,
Marrakech, Zagora, Meknes, Rabat,
Casablanca. Studio visitations, tile art,
mosaics, fabrics, clay architecture,
Roman ruins, a camel ride in the
desert, and much more. Denys James,
www.discoveryarttravel.com.
If you can’t stand the heat...
get a Vent-A-Kiln!
“It’s
not only important to exhaust fumes from kilns. I need
to remove the excess heat that rises and escapes from kilns to keep
my studio comfortable without wasting money cranking up the air
conditioner.”
“I installed Vent-A-Kiln over 5 years ago because a downdraft
system does not remove excess heat like Vent-A-Kiln does. My
studio remains comfortable, and I’ve also found that Vent-A-Kiln
helps my kilns reach the right temperature faster – another
money saver.”
New Report on
Kiln Ventilation
Facts & Figures
Get your FREE
copy of the test
results.
Get
app for
foryour
yourphone
phone
Getthe
thefree
free mobile
mobile app
Get
the /free
mobile app for your phone
http:/
http:/
/gettag.mobi
gettag.mobi
http:/ / gettag.mobi
Greg Link, Owner of Cone Five Pottery, Buffalo,
NY, on why he uses the OSHA-compliant Vent-AKiln canopy-hood system instead of a downdraft
system to remove heat, fumes and odors.
877-876-8368 • [email protected]
Visit us at www.ventakiln.com
index to advertisers
Aardvark Clay & Supplies ................. 120
ACerS Books ......... 23, 88, 129, 130, 132
Aftosa ................................................ 121
Alligator Clay ..................................... 127
Amaco and Brent ....... Cover 2, 120, 121
American Museum of
Ceramic Art ........................ 59, 60, 61
Bailey Pottery .............................. 1, 9, 15
Bamboo Tools ................................... 127
Bennett Pottery...................................... 5
Bracker’s ........................................... 125
Carolina Clay Connection ................. 130
CeramicArtsDaily.org ........................... 29
Chinese Clay Art ............................... 122
Classifieds.........................................
Clay Art Center/Scott Creek..............
Continental Clay ................................
Coyote Clay & Color .........................
Cress Mfg ..........................................
134
124
128
123
122
Dolan Tools........................................ 128
Euclid’s/PSH ...................................... 123
Geil Kilns ........................................... 131
Georgies Ceramic & Clay ................. 131
Giffin Tec ............................................... 4
Great Lakes Clay .............................. 124
Herring Designs/SlabMat.................. 128
Kentucky Mudworks ......................... 123
Kiln Doctor......................................... 130
L & L Kiln Mfg.................................... 125
L&R Specialties ................................. 125
Larkin Refractory............................... 126
Master Kiln Builders .......................... 123
MKM Pottery Tools ............................ 129
Mudtools............................................ 131
North Star Equipment ................. Cover 3
Olympic Kilns ...................................... 21
PCF Studios ...................................... 125
Peter Pugger Mfg.................................. 3
Potters Council .................. 126, 128, 130
SchoolGlaze.com.............................. 127
Sheffield Pottery ................................ 126
Shimpo ................................................ 11
Skutt Ceramic Products .............. Cover 4
Smith-Sharpe Fire Brick .................... 124
Socwell .............................................. 129
SOFA ..................................................... 2
Spectrum Glazes .............................. 123
Trinity Ceramic Supply ...................... 122
Tucker’s Pottery ................................. 127
Vent-A-Kiln......................................... 135
Ward Burner Systems ....................... 120
Xiem Gallery ...................................... 127
index to galleries
16 Hands............................................. 64
Ariel Gallery......................................... 68
Art School at Old Church, The.......... 109
Artisan Gallery, The ............................. 75
Artists Gallery ...................................... 89
Artists on Santa Fe .............................. 83
Cocobolo Design ................................ 76
Couturier Gallery ............................... 111
Cowans + Clark + Delvecchio.......... 103
Cross Mackenzie Ceramic Arts .......... 77
Dolphin Song/Spinning Earth Pottery . 84
Joyce Michaud Gallery ....................... 91
Lacoste Gallery ................................... 56
Lillstreet Art Ctr.................................... 72
MacKenzie Art Gallery ........................ 69
Mindy Solomon Gallery..................... 119
Mossrock Clay Studio ......................... 92
Blue Spiral 1 ........................................ 93
Fuller Craft Museum............................ 79
Canadian Clay & Glass Gallery ........ 107
Cedar Creek...................................... 116
Charlie Cummings Clay Studio........... 65
Cinema Gallery ................................... 96
Clay Art Center.................................. 112
Grand Hand Gallery............................ 81
Greenwich House Pottery ................. 108
Odyssey ............................................ 105
Island Gallery, The .............................. 95
Patrick Shia Crabb .............................. 73
Philadelphia Museum of Art (PMA)
Craft Show...................................... 80
Joan B. Mirviss Gallery ....................... 63
Northern Clay Ctr ................................ 87
Plinth Gallery ....................................... 71
Pucker Gallery................................... 117
Red Lodge Clay Ctr .......................... 113
Red Star Studios ................................. 85
San Angelo Museum of Fine Arts ..... 100
Santa Fe Clay .................................... 118
Schaller Gallery ................................. 104
SculpturesiteGallery.............. 97, 99, 101
Sunset Canyon Pottery ..................... 114
Vessels Gallery.................................... 67
Willock and Sax Gallery .................... 115
october 2011
135
SPOTlighT
the nevica project
if you need proof that the digital world is no longer as reliant on the physical world as it
once was, even when it comes to the dissemination of actual objects throughout that
world, look no further than the Nevica Project; an online gallery that continues to expand.
Ceramics Monthly:
Let’s start at the beginning; why start an
online-only gallery?
Jayson Lawfer: I
started an online
gallery as a way
to incorporate a
traveling lifestyle
and a way to pursue my passion for collecting,
dealing, and broadcasting art worldwide. By
performing most of the gallery operations
online, it allows me to travel and live as I
choose. I started the Nevica Project in the
beginning of 2008 and there weren’t a lot of
online galleries. I had researched extensively
and felt that it would be a viable business
as long as I worked with quality artists
and galleries. I knew it might be difficult
entertaining collectors to buy work based
solely on images, but was certain that, if I was
representing superb work and rare pieces, that
it could be accomplished.
them searchable, and
marketing strategies.
I also grew up with
Mike Ingala, who
is a master at SEO
(Search Engine
Optimization) and he
has helped instruct
me on how to make
my website rank
high when the public
searches for any
of the artists and
artwork I host.
JL: One of the most
difficult aspects
was learning how
to build/maintain
a website and
make it searchable on the web. I was very
fortunate that my friend Gina Hutchings of
Lunar Media took on the project and created
the initial website. Then I moved from Rome
to Ocean Beach, California, for three months,
got a public library card, and read every book
I could find on developing websites, making
JL: I sometimes think I am the only staff
member at the Nevica Project, but that isn’t
exactly the case. It is a partnership, and every
artist I represent is firmly dedicated to the
project. The Nevica Project is getting more
interest every day, and I feel the time is coming
to branch out, so I am currently looking for
national and international gallery assistants.
CM: What was the
most difficult or unknown part of starting
the Nevica Project?
136
october 2011
CM: Beyond yourself, what kind of
staffing does the
gallery require?
JL: This is the most
difficult part in the
developmental
stage of an online
gallery. The Nevica
Project is a contractbased business. I represent the artist and the
artwork. It is mandatory that all the work is
professionally photographed, available, and
described in exact conditions. The Nevica
Project acts as the broker. Someone contacts
me looking for art and I work with him or her
to find the right piece(s). When the piece is
selected, the artist/gallery/collector ships it. I
say “artist/gallery/collectors” because I work
with all three groups to make this business
flourish. I work with professional artists,
galleries that contract me to sell their inventory,
and I also assist individual collectors to resale
their artworks.
There are other variables, of course. I
sometimes have collections sent to my home.
And I have structured physical exhibitions in
cities were there are major art events such as
SOFA (Sculpture Objects and Functional Art)
and NCECA (National Council on Education
CM: How do you
handle the logistics
of selling, inventory,
and delivery of works
to buyers?
for the Ceramic Arts). It allows me to feature
artwork that is directly associated with the
thousands of people that are visiting a city with
that particular art on their radar.
JL: Social media such
as Facebook and
Twitter play a big role
in every aspect of
day-to-day life now.
I post and keep my
social media accounts
up to date. But I do not see a lot of direct sales
coming from social media. On the other hand,
social media is so broad that I might never
know if a sale came from someone seeing my
site on Facebook. There is no way to directly
purchase work off Facebook or Twitter, so sales
can never be counted directly.
Digital technology has really bonded me with
my artists. We all made a leap of faith to start
this partnership when there were very few
galleries that solely existed online and not in a
physical space, and we have had a prosperous
journey. I also think this has allowed them the
confidence to rely upon online gallery sales.
Being an artist is a very difficult journey and
when you have someone or something to rely
on, it takes a bit of the pressure off. There are
a few artists on the Nevica Project that I have
never physically met, only conversing through
phone conversations, Skype, emails, and the
postal service. But it is a certainty that one day
we will shake hands.
www.thenevicaproject.org
CM: How has digital
technology changed
your business and
your relationships
with the artists
you represent?
NEW!
GlazeTech
Finally a true Cone 10 Test Kiln
innovation is
inevitable...
Andy Balmer:
Glaze Technician and Potter
Pratt & Larson Tile, Portland, OR
Artist: Robin Hopper
also perfect for
Porcelain Canvas Substrate™
Find out why we feel the GlazeTech is the
best test kiln on the market:
skutt.com/glazetech
for more information on Skutt Kilns or to find a distributor, visit us at www.skutt.com or call us directly at 503.774.6000

here - Ceramic Arts Daily

Transcription

Similar documents

Book 6

Art Around Us LEVELED BOOK • T

A Terrain of Legends reviewed in

Study the evolution of British ceramics, from rudimentary Stone Age

Newsletter - Anglian Potters

Ink and Clay 32

In-line pneumatic screener scalps more than a million tons of clay

KWNE Electronic Media Kit

Our Studios - Manchester Craftsmen`s Guild