Tuesday, 16 September 2014

Coast to Coast to Coast @ the Art Gallery of Burlington

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

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

 

The Exhibition:

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



technical tuesday: the price of a mug


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

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

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

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

how much did those two degrees cost me again?

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

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

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

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

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

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

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

Sunday, 14 September 2014

Virginia Marsh Exhibition @ the University of Dallas


UD’s Artist in Residence Virginia Marsh‘s ceramics exhibit runs Sept. 3-26, 2014 at the Thompson Loggia, Haggerty Art Village, University of Dallas, 1845 E. Northgate Dr., Irving TX 75062.
Reception will be Sept. 19, 6:30-8:30 pm with an Artist Talk at 7pm.
Virginia Marsh received her B.A. in Art from DePauw University and her M.F.A. from The Ohio State University. She taught undergraduate and graduate ceramics at the University of Louisville from 1975 to 1995 and was Editorial Advisor for Chilton Book publishers from 1985 to 1995. She also taught special courses for such schools as The Arrowmont School of Arts and Crafts and the Banff Centre School of Art, where she was Artist-in-Residence in1984. Since returning to her home state of Texas in 2000, Mrs. Marsh works as a “Resident Artist and lecture on the history of ceramics at the University of Dallas. She also volunteers as an instructor at the Craft Guild of Dallas

University of Dallas
1845 East Northgate Dr
Irving, Texas 75062
US

emerging artist: Jason Desnoyers




 
Artist Statement

I look to make work that creates an effect on the individual person rather than, at first, the community at large. For me, attracting the individual is about finding a passion and creating a bond between maker and user. Original work, purposeful ceramics and creating conversations are the main points that I look to answer within my ceramic medium.

I describe the process I have investigated as "cut and paste". Utilizing technical aspects of ceramics, related to throwing on the wheel, hand building and mold work. My aim is to create forms that are different but that also relate to my own self. This comes from explorations of design and personal preference, but also from outside sources such as graffiti, geometry, sociology and mass media (Tumblr).





jasondesnoyers.com

Thursday, 11 September 2014

call for artists: The Big Mug Spectacular




The Big Mug Spectacular
We are having a mug show,
You are invited to participate
Show opens December 11th 2014 7pm
Mugs need to arrive by November 15th 2014
24 mugs per artist
The gallery commission rate is 50%
We are accepting guest artists so if you know of any awesome mug makers do share their names etc.
The show is only open to Canadian artists working in Canada
Please reply back to
brian@jonathons.ca
or call
519-434-5443
1-866-229-5244
I look forward to hearing from you all
Brian
Jonathon Bancroft-Snell Gallery-Galerie
258 Dundas Street
London, Ontario
N6A 1H3

show us your influences: guest post with Paula Cooley

I am a ceramic artist with a sculptural practice, a functional practice and a lively curiosity about clay and form. My influences are varied and many: organisms, plants, fine craft, historical artifacts, architecture, and landscape.  As I work intuitively, I delight in being a visual sponge, soaking up images and then seeing what emerges in my pieces.

I recently completed a body of sculptural work, titled MIX, which is currently on exhibition at the Saskatchewan Craft Council’s Affinity Gallery in Saskatoon.    This exhibition allowed me to indulge my interest in multiples and the opportunity to create several larger pieces.  Repetition is a powerful principle of design and I was inspired by the work of several artists who use numerous simple components to create compelling sculptures.

Edmund de Waal (www.edmunddewaal.com)
I have long admired de Waal’s elegant groupings. Two years ago, on a visit to the Victoria and Albert Museum, I was thrilled to look way up and catch sight of de Waal’s Signs and Wonders, a red aluminium circle containing  425 porcelain vessels, positioned inside the dome.  I could have happily spent an hour laying on the floor gazing up at this installation! And as an aside, de Waal’s book The Hare with Amber Eyes is a delightful read.

 

Michael Sherrill (www.michaelsherrill.net)
I am attracted to the detail and surfaces of Sherrill’s pieces.  His forms are vital and energetic, a trait that I strive for in my work. Now that I have tried welding and forging metal I am even more impressed with his technical and aesthetic ability to successfully merge disparate materials.



Louise Nevelson
As a formalist, I am in awe of Nevelson’s arranged and abstracted sculptures.  Her use of shadow and positive and negative space is powerful and evocative.  On a personal note I am also by inspired Nevelson’s tenacity and determination to establish herself in the male dominated art world of the mid-twentieth century.




Here are several of my pieces from my exhibition, MIX.  You can see them in person at the Affinity Gallery in Saskatoon until Oct. 18, 2014.



 







Wednesday, 10 September 2014

Surface by Susie Osler @ Dust Evans Gallery

The show is from August 15 - October 15.
Find out more about Susie Osler Ceramics here: (https://www.facebook.com/SusieOslerCeramics)
 

Dust Evans Gallery245 Centrum Blvd.
Ottawa, ON K1E 0A1
admin 613-580-2763

Pottery24: a Pottery Marathon Fundraiser with a Purpose


PictureThink you and your team (work, church, household) can raise $1,000 in one month to honour Labour Day and to support JustWork's mission of social employment?

       Do it and JustPotters will give your team a free pottery workshop.

How about $2,000 in one month?

        Do that and we will throw in dinner by JustCatering.

Take the challenge. Help us continue our mission.

Pottery24 is the annual pottery marathon & fundraiser of JustPotters, a Vancouver-based pottery studio set up to do good on two fronts:

      1) make beautiful pottery for purchase
      2) provide employment for people who need it most

Through funds raised at Pottery-24, JustPotters will continue offering employment to individuals who face barriers to work. Your donations will supplement our pottery revenues, and this supplement is essential for our continued success – success at providing income, community, and dignity for our employees and amazing pottery for our customers!

Event Details

At 5pm on September 26th, 2014 potters from our studio will begin a 24-hour pottery marathon. Supported and motivated by your pledges and donations, they will be work making pottery in shifts for a full 24 hours.

  • WHEN: Friday to Saturday, September 26-27th
  • WHERE: 1803 East 1st Avenue, Vancouver
  • OPEN HOUSE: Saturday, 10am to 5pm

This year we're also
excited to be participating in BC Culture Days. Come on by during our Open House hours on Saturday between 10am and 5pm to:
  • Support and cheer on our potters, as they throw on the wheel
  • View beautiful hand made pottery and sculptures
  • Get your hands dirty and mess around with clay in our kid friendly zone: try your hand at clay, or jump on the potters wheel -- adults welcome too!
Find out all the details and support the campaign here: www.pottery24.ca

back to the table: tableware by emerging artists


Back to the Table

Tableware by emerging ceramic artists
Sturt Gallery - 14 September to 16 November 2014
 
Curator Vicki Grima has invited the artists to ponder the role handmade ceramic tableware plays in our everyday lives
Exhibition opening: Sunday 14 September, 11am. Free event ~ all welcome. www.sturt.nsw.edu.au

movie day: Gerry Wedd and Paul & Janelle Amos, Barossa Coffee Roasters, In Conversation for Be consumed


Tuesday, 9 September 2014

Figurative Sculpture Workshop in San Miguel de Allende, México April 1 -April 10 , 2015

 
COST:  
$1450.00 USD per person.
Because it’s a very popular time in the Mexican calendar, we need to confirm enrollment early: 
50% deposit upon registration ($725) no later than December 2014 with an EARLY BIRD discount of $50.00 for enrollment by November 1 , 2014 ($675)/
balance ($725) due by January, 2015.
This includes:
-Quality instruction from  Lisa Clague, Cristina Cordova and Kelly Rathbone including daily demonstrations, lectures and one-on-one support. We want to rock your world and help you navigate through all these techniques!
-Unrestricted access to the awesome Barro.Co Clay Studio during its regular business hours (9am -6:30pm).  Check out this link to learn about their story: http://barro-co.com/the-space/
-All materials including clays and engobes, underglaze transfers etc….
-Scheduled field-trips and  to savor our surroundings during this very special week of festivities!
Please let us know if you have any questions.

BARRO.CO CLAY STUDIO

Adria Calaresu & Alberto Sanchez

Sabino # 16,

Colonia San Antonio

San Miguel de Allende, Guanajuato

C.P. 37750 MEXICO

Tel: 154-4171

Cell:  044-415 1535118

technical tuesday: Potters of the USA (part one)


Monday, 8 September 2014

call for entry: Winifred Shantz Award

image
(L) Threaded Lamp, 2013. Brad Turner
(R) Dressed, 2012. Janet Macpherson

$10,000 Awards for Emerging Ceramic and Glass Artists!
Are you an emerging artist? Do you want to develop your artistic practice? We have two opportunities for you!

The Canadian Clay and Glass Gallery is calling for submissions to the 2014 RBC Award for Glass and Winifred Shantz Award for Ceramics.

These prestigious national awards allow practicing early career ceramic and glass artists to undertake a period of independent research, or other activities that advance their artistic and professional practice at a key moment in their careers. Award winners receive $10,000; a second prize of $1,000 is also granted. The Selection Committee is comprised of respected contemporary glass and ceramic artists (both sculptural and functional) and other arts professionals. Winners will be announced and the awards presented at a gala event in Waterloo Ontario on November 22, 2014.

To be eligible for the Winifred Shantz Award for Ceramics or the RBC Award for Glass, artists must be Canadian citizens or have Permanent Resident status. They must have developed skills through training and/or practice in the field (not necessarily in academic institutions) and be recognized by other artists working in the same artistic tradition. All applicants have maintained an independent professional practice for no more than 10 years prior to their application.

Application Guidelines:
To download the complete guidelines for the RBC Award for Glass or the Winifred Shantz Award for Ceramics, visit http://www.theclayandglass.ca/awards. In order to be considered, applications for either award must be received electronically by Friday, October 3, 2014.

About the Awards:
The RBC Award for Glass is supported by RBC as part of the RBC Emerging Artists Project. The Winifred Shantz Award for Ceramics is supported by the Keith and Winifred Shantz Fund for the Arts, held at The Kitchener and Waterloo Community Foundation. Past recipients of both awards truly represent the best of the emerging ceramic and glass artists in Canada. Janet Macpherson of Toronto, Ontario was the winner of the 2013 Winifred Shantz Award for Ceramics. Brad Turner of Calgary, Alberta was the winner of the 2013 RBC Award for Glass.

logo


Contact Information:
For additional information, please contact Christian Bernard Singer, Curator at
christian@canadianclayandglass.ca

Canadian Clay and Glass Gallery    Galerie canadienne de la Céramique et du Verre
25 Caroline Street North    Waterloo, Ontario N2L 2Y5    www.theclayandglass.ca

Hours:
Monday to Friday 11 am to 6 pm    Saturday 10 am to 5 pm    Sunday 1 pm to 5 pm

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