Sunday, January 31, 2010
nominations and expressions of interest.
Founded in 1910, Kent State University is the largest public multi-campus
system in Ohio with eight campuses serving 38,457 students in local
communities across Northeast Ohio. It provides the intellectual,
scientific, social, economic, and artistic resources of a major research
university in a safe and serene campus setting. The Kent Campus has a
student body of 25,000. The University is characterized by its
collaborative culture, strong academic and research orientation, and
commitment to diversity and community engagement.
The College of the Arts includes the School of Art, the Shannon Rodgers and
Jerry Silverman School of Fashion Design and Merchandising, the Hugh A.
Glauser School of Music, and the School of Theatre and Dance. The College
serves more than 2,500 students at the baccalaureate through doctoral
levels, through eight degree options and over 50 individual program
concentrations. The purview of the Dean of the College of the Arts also
includes the Kent State University Museum, which houses one of the nation¹s
preeminent collections of historic and contemporary fashionable dress.
The dean reports to the provost and provides strategic and operational
leadership to advance the college. The ideal candidate will be a strong
advocate for the arts, an educator with a clear vision, a committed
artist/scholar, and a professional able to imagine new possibilities for the
college. He or she must have a deep appreciation of and commitment to
supporting each of the disciplines represented in the college. The dean,
with the faculty, will be responsible for recruiting and retaining faculty
and for new program development. Increasing the diversity of the student
body and the faculty is essential to the mission of the college and the
university as a whole.
He or she will take a leading role in raising funds externally from
corporations, foundations and individuals to support the college¹s mission.
The dean will serve as the principal steward for the college¹s resources
its faculty and staff, students, finances, and facilities.
The candidate should have credentials appropriate for appointment as a
tenured full professor in one of the program areas of the College. Salary
is competitive and commensurate with qualifications and experience. Review
of applications will continue until the position is filled. Application
materials including a cover letter addressing qualifications, curriculum
vitae and the names and contact information of three or more references
should be sent to:
Keli Greene, Search Coordinator
Kent State University, Office of the Provost
P.O. Box 5190, Kent, OH 44242
Saturday, January 30, 2010
Deadline: April 16, 2010
Exhibition Dates: June 9 - July 9, 2010
Applications may be obtained at colleges /universities with Fine / Visual Arts Programmes across Canada Feb 2010. Students are responsible for return shipping of works. Canadian residents only. For application / info: please call 647.435.5858 or email firstname.lastname@example.org.
The college welcomes applications for the upcoming 2010 – 2011 academic year for the position of:
Visiting Artist/Instructor – Ceramics (Competition 0910-JA-FT-17)
Nine (9) month appointment – over two (2) semesters from August 23, 2010 to May 31, 2011
This position has been an integral part of the Ceramics program for over 20 years and is funded under the ACAD Rawlinson Visiting Faculty Program made possible by the generous donation of the Jill Rawlinson Fund.
To complement existing instructional resources, the Visiting Artist in Ceramics will instruct a total of four (4), six (6) hour long studio courses at all levels of the undergraduate BFA in Ceramics program and will be expected to participate in Ceramics program activities and administrative workload. The Visiting Artist will receive remuneration (on a prorated –basis) in line with the salary of a full time instructor teaching a two course per semester load and will be provided with a generous studio space within the Ceramics facility. Firing and glaze materials will be provided. The Visiting Artist will be expected to maintain a personal research/studio practice during the time at ACAD and will be invited to mount a solo exhibition/presentation of her/his research/studio practice at the college in April 2011.
The successful candidate will have: a significant professional exhibition record and recognition as a ceramist, an MFA or an equivalent degree or combination of education and professional experience in ceramics, substantial teaching experience at the post secondary level, excellent technical skills and a wide knowledge of all aspects of the discipline with a particular regard for the international ceramics profession. Applicants with a studio practice and teaching experience in the fields of sculpture and/or ceramics design are particularly sought for this academic year.
Please submit applications by March 1, 2010 including: letter of application; the names/email/telephone contacts of three (3) referees; a current curriculum vitae; Two statements, one outlining teaching philosophy and practice and one regarding studio and research practice; twenty (20) images of recent studio work accompanied by a corresponding numbered list including titles, medium and size (all in C.D. format) to:
Alberta College of Art + Design
1407 - 14th Avenue NW
Calgary, Alberta T2N 4R3
Alberta College of Art + Design is an equal opportunity employer and welcomes expressions of interest from all qualified applicants for consideration for this or other suitable vacancies. While we thank all applicants in advance for their interest, please note that only applicants selected for an interview will be contacted. In situations with several qualified candidates, preference will normally be given to Canadian citizens and permanent residents.
Friday, January 29, 2010
Professional, self-reliant, dynamic artists who work in any traditional or new visual arts media are invited to apply for the Tulipamwe Residency in Namibia from 12 April – 12 May 2010.
Tulipamwe’s residency program offers the artist-in-residence an opportunity to live and work in Windhoek, capital of Namibia for a period of 4 weeks, giving the visiting artist the opportunity to integrate in the local artistic community and to respond to the local situation in his/her work. Tulipamwe endeavors to facilitate cultural exchange and creative dialogue in support of the international Triangle artists’ network, to which it is affiliated. Therefore the artist is welcome (but not obliged) to collaborate with Namibian artists during the residency. Artists are also encouraged to respond to their individual experience of the Namibian cultural environment in their work.
Designed as an opportunity to grow creatively and to expand cultural horizons, the residency does not offer any kind of financial remuneration. However, Tulipamwe will endeavor to cover self-catering accommodation and basic materials, plus a daily allowance for meals and local transport. Tulipamwe will also, depending on the route of travel, attempt to cover international travel costs. However, artists who are able to attract financial assistance for their travel to/from Namibia (or part of it) will enjoy priority. (Applications can be submitted to ArtMovesAfrica who may assist with traveling costs of African artists).
The artist-in-residence will be invited to offer a visual presentation and/or practical demonstration of his/her work to Namibian artists, students and the general public, thereby contributing to general education. Digital or analog equipment will be available for this presentation. Towards the end of the residency, the artist-in-residence will be invited to hold an open studio day, while the residency will culminate in an exhibition in a Windhoek gallery.
Only email applications will be considered. The following need to be submitted:
* A brief Curriculum Vitae, detailing your nationality, country of residence, training, specialization, exhibition record and workshop experience.
* A letter motivating your intent
* A recent photo of yourself
* 5 jpeg images of your recent artworks, not older than 2 years
* Names and e-mail address of two referees.
* NB: your email must not exceed 1MB, including attachments. If you cannot include everything in 1MB, please send more than one email.
The Hungarian Multicultural Center, Inc.R (HMC), 501(c)(3) non-profit organization, invites interested visual artists, writers, performers to submit application for its residency program in Budapest, Hungary. The residencies offer participants to interact with other artists representing a variety of cultures and backgrounds. Approximately 6-8 artists are invited for each session.
Tuesday May 11, 2010 – Thursday, June 3, 2010 –Deadline (must be received) by February 6. 2010* Tuesday, June 8, 2010 - Thursday, July 1, 2010 –Deadline (must be received) by March 6. 2010* Tuesday, July 6, 2010 – Thursday, July 29, 2010 –Deadline (must be received) by March 6. 2010*
Tuesday, August 3, 2010 - Thursday August 26, 2010 –Deadline (must be received) by March 6. 2010*
Monday, December 27, 2010 – Tuesday, January 11, 2011 –Deadline (must be received) by September 6. 2010*
Applications via email only.
Work samples: 5-10 jpeg images, under 1 MB each.
For film/video, please email clearly labelled youtube/site links.
Please do not refer us to a general website link or send an incomplete application.
While HMC does not provide funding for residencies, we are helping to facilitate the creation of program, the cost of the exhibitions and cover %40 of total cost, artists cover %60.
We encourage the applicants to apply for a grant or scholarship.
The American Craft Council is seeking qualified candidates to apply for the position of Executive Director.
The next Executive Director will have the unique opportunity to lead and sustain the American Craft Council through an exciting new phase of the Council's history. With the relocation to Minneapolis, this chief executive will dynamically and strategically lead the future vitality, relevance, and impact of the Council.
As a nonprofit, membership-centric organization, the Executive Director is accountable to the Executive Committee of the Board of Trustees for the execution of the strategic plan and development and implementation of the programs, policies, and practices of the Council. Within that framework, the Executive Director is responsible for the management and development of approximately 15 employees and a budget of $6 million.
Specifically, the successful candidate will be responsible for strategic direction, external relationships and fundraising, board and executive committee relations, membership growth and development, spokesperson and public relations, and administration.
This position is located in Minneapolis, MN (relocation from New York City to be completed by July 2010).
Developing Criticism for Contemporary Ceramics Investigations into Critical Interpretations and Critical Judgment This symposium will explore current perspectives on critical interpretation and judgment in contemporary art, using the model of ceramic art as a focal point. Invited speakers include: Ted Adler, Terry Barrett, Glen Brown, Garth Clark, Moyra Elliot, Tanya Harrod, Elaine Henry, Dave Hickey, Janet Koplos, Donald Kuspit, Elizabeth Leach, Paul Mathieu, Hunt Prothro, Jim Romberg, Raphael Rubinstein, and Adam Welch. This event is sponsored by the National Council on Education for the Ceramic Arts (NCECA). Submissions specific to ceramic art are encouraged, but considerations of critical practices in any form of studio art production, exhibition, history, pedagogy, or theory will be reviewed. Suggested topics of inquiry are as follows: Lecture Topics (20 minute presentation) •Critical Interpretation •Critical Judgment •Building Criticism Panels (15 minute presentation and panel response) •Looking Closely •Considering the Ceramic Object •The Shape of Judgment •Curation as Interpretation and Judgment •Publications and Criticism To be considered please submit an abstract (no longer than 300 words) to email@example.com by March 24, 2010. Authors of accepted abstracts will be asked to provide a full paper of approximately 1500 (panel) or 2500 (lecture) words by July 1, 2010. Proposals will be juried by the CRITICAL Santa Fe Advisory Board through a blind jury process. Previously published or off-topic papers will not be considered. All decisions of the Advisory Board are final; there is neither a rebuttal period nor an appeals process. March 24: Deadline for submissions. March 24-April 15: Review of Abstracts and deliberation period. May 1: Notification of acceptance. July 1: Final papers due for editorial review. August 1: Final, edited, camera-ready papers due. Oct 27-30: CRITICAL Santa Fe Symposium 2010.
I recently came across the work of Marianne Hallberg and figured I'd better share it with you all as it's so lovely.
Sadly her website isn't in english but here is the google translate version, which is hopefully accurate enough.
"The material I use is stoneware with a white tin glaze, decorated with cobalt oxide. Firing temperature is 1250 ° C.
Use items are rolled to be thin and beautiful. I have interested me for ornamentation, studied the flowers, exploring symbols, squares, dots, stripes, and combined them like patch quilts, to tell you about my approach to beauty and desire."
See more of her gorgeous work here.
Thursday, January 28, 2010
28 January 2010
DESIGN FOR EVERYONE EXPRESSION OF INTEREST OPEN
The Victorian Government's State of Design Festival is a key element of the Design Victoria Strategy developed to increase the awareness of the value of design and showcase how design generates innovation, promotes sustainability and adds value to business and society.
For 2010, Design for Everyone, the Festival's public program, will explore and communicate the importance of design to a broad public audience. Participation in Design for Everyone is an opportunity for individuals, organisations and businesses to demonstrate how design is improving living conditions, creating sustainable development opportunities, increasing commercial advantages and generating new and innovative products and services.
The 2010 State of Design Festival theme of 'Change by Design' promotes the value of design as a practical tool for the creation of sustainable communities and competitive industries. The theme is communicated via the Design for Everyone program to a broad business, design industry and general public audience. The Festival is seeking Design for Everyone content that showcases design and the Victorian design industry, and falls within the category of eco-design aimed at the general public.
Past public events and exhibitions that respond to the 2010 theme include:
The State of Design Festival is now seeking expressions of interest for public exhibitions, projects, installations, seminars, workshops and creative events to be included in the 2010 Design for Everyone program.Apply online
Deadline for application is Monday 15 February 2010.
Please contact Lisa at firstname.lastname@example.org or 780-712-6313 if you are interested or would like more information.
Date: April 17 or 24 (TBA soon).
Wednesday, January 27, 2010
Exhibition Dates: June 5 - July 17 (Discovery Gallery)
Artists Reception: TBA
The Alberta Craft Council is organizing it’s 4th annual juried exhibition that is open to emerging fine craft artists who are in the first five years of their career or in the last year of their formal education.
If you are creating contemporary fine craft (clay, glass, fibre, wood, furniture design, jewellery or metals) with fresh new designs submit:
- current CV
- artist statement
- 3 - 5 good quality images (digital - 4″x6″ 300dpi) of work presented for the exhibition
- Portrait image of artist in the studio or against a neutral background
- an image list that includes title, medium, technique, year made, size and photo credit
Note: All submissions must have been produced in the last two years.
Send your submission to the Alberta Craft Council 10186 - 106 Street, Edmonton AB T5J 1H4.
Tuesday, January 26, 2010
For a while now I keep meaning to post about a lovely new potter I recently stumbled across. Well new to me, maybe not to you. I instantly fell in love with these beautiful pieces. Here's a bit from his profile:
"My ceramic work is both practical for the enjoyment of everyday use as well as aesthetically pleasing for the presence in a room. I choose the wood fired process solely because it is an extension of my finding experience when creating. The wood fire process truly is an exciting adventure with discovery and the unexpected which is one of the most valuable experiences of human existence."
Find out more about Gary here or shop for his work here.
Sunday, January 24, 2010
Okay on a more serious note I've realized that what goes around truly does come back around. Looking at some of the functional tests I've been playing with lately I suddenly was reminded of a piece I made quite a few years ago in grad school, which at the time turned into a dead end, but go figure it's rearing it's head again.
back to 2003:
currently in the studio:
Similarities, yup. Interesting. So either I'm a one trick pony or there was something there the first time and I gave up too quickly...well see where it goes this time.
Friday, January 22, 2010
May 14th & 15th, 2010
Come meet your fellow artists in the mountains and discuss the issues that are important to you such as marketing, artists’ fees, the Resale Right, and public funding. Networking, panels, workshops, and more! Register early at email@example.com.
Thursday, January 21, 2010
Virginia University have teamed to offer a comprehensive study opportunity
for the serious advanced or professional ceramic artist/potter. The
Jingdezhen Ceramic Institute is considered to be China’s finest ceramics art
and design school. In fact West Virginia University is the only western
university with a campus in China. We have teamed to offer a study and
travel program in the Peoples Republic of China where students will have the
opportunity to study with some of China’s most prominent teachers and
China’s roots in ceramic art history are strong and deep. For thousands of
years, Chinese artisans have developed and mastered techniques and artistry
that has set the standard of excellence in ceramics throughout the world.
We have 4 exciting programs in place for 2010. In addition to the world
famous artist from China you will be in contact with we have dynamic
visiting artists from the U.S. that will be working side by side in the
studio this summer and fall. Our 2010 Visiting Artist include; Paul
Dresang, Steve Hilton, Dan Murphy, Jason Walker, and Dan Murphy.
Summer Semester I – 2010
May 24 – June 30
(Dates may vary slightly)
Cost: 6-Credits/Tuition and fees: $5800
(this cost includes additional fees required by West Virginia University)
This fee covers International airfare, in-country travel, all lodging, food
(an exception being during the Beijing travel portion of the program),
materials, and 6 graduate or undergraduate transferable credits from West
Summer Semester II – 2010 (For K-12 Educators and University/College
Students on Quarter System)
June 15- July 15
6 Credits (3 Credits Ceramic Studio & 3 Credits Art History)
Cost: 6-Credits/Tuition and fees: $4800
(this cost includes additional fees required by West Virginia University)
This fee covers International airfare, in-country travel, all lodging, food
(an exception being during the Shanghai travel portion of the program),
materials, and 6 graduate or undergraduate transferable credits from West
Fall Semester 2010
September 7 – December 14
(Dates may vary slightly)
12 Credit Hours: Graduate or Undergraduate
Cost: 12 Credits/Tuition and fees $9,900 (Scholarships Available!!!)
6-Credits Studio Ceramics
3-Credits Chinese Ceramic Art History
3-Credits Basic Language and Culture
Participants will be expected to pay for tools not supplied by the program,
brushes, personal acquisitions, and local travel outside of the program.
Students may also be expected to purchase their own meal accommodations
during the Beijing visit. This fee covers the entire cost of International
airfare, in-country travel, all program fees, insurance, living
accommodations and 12 transferable credits from West Virginia University.
2010 Spring Semester Ceramics Residency Program in China
April-May* (select your own dates!)
Costs: Vary by length of stay, airfare not included
Fee include: Room, board, studio, scheduled field trips and most materials.
If you or anyone you may be interested in any of the 4 programs, more
information and applications are available at:
If you have any questions feel free to contact us. Hope to see all of you
in Jingdezhen, China!
Professor of Art
Director, WVU-JCI International Ceramic Studios
West Virginia University
College of Creative Arts
Division of Art + Design
Creative Arts Center
PO Box 6111
Morgantown, WV 26506
Assistant Professor of Art
West Virginia University
Robert "Boomer" Moore
Assistant Professor of Art
West Virginia University
West Virginia University
PROPOSAL SUBMISSION DEADLINE: MARCH 1, 2010
Installation Deadline: September 1, 2011
Open to regional, national and international artists
The City of Lethbridge is inviting artists to participate in a three stage public art competition. The winning submission will receive a commission to create and install a public art work on site at the Southern Alberta Art Gallery in conjunction with the grand re-opening of its newly renovated spaces.For further information please contact Suzanne Lint at firstname.lastname@example.org, Executive Director, Allied Arts Council of Lethbridge (AAC), 403.320.0555, www.artslethbridge.org.
Wednesday, January 20, 2010
It's not very often that I get to post about an awesome exhibition of ceramic work that i'll actually get to see, but today is an exception. Come one, come all to the Mendel art gallery this Friday night for the opening reception of Brendan Tang's show Sugar Bombs. Curator and artist talk at 7pm, opening at 8pm. Hope to see you there!
Eden Revisted: The Ceramic Art of Kurt Weiser
Friday, February 12, 2010, 5:30 p.m.
2100 Smallman Street
Pittsburgh, PA 15222
p: 412.216.7003 f: 412.261.1941
Open: Mon–Sat 10–5 pm
Dates: Feb. 11, 12, 13, 2010
Featuring: JOHN BRITT, NC Potter, Professor, Author, and BILL CLOVER, PJC Art Professor and other ceramic artists
The first annual clay Gulf Coast conference will have demonstrations, a slide show, a talk on glazes, a handle workshop and a vendor hall with products for clay arts and demonstrations of many of the products.
John Britt will visit and demonstrate and talk on glazes; he will present a slideshow Thursday evening. His demonstrations will continue on Friday.
Noted PJC art professor and clay artist Bill Clover will host a workshop entitled "Can you handle it?" Friday afternoon at 1:00 PM.Gulf Coast area artists Patrick Bodine, Steve Dark, Anne Webb and Jason Stokes will demonstrate all day Friday.
click for details
Exhibition runs: January 17, 2010 – March 21, 2010
From the Canadian Clay and Glass Gallery Website:
Jane Adeney offers us TRANSUBSTANTIATION. Known for her installations and ceramic sculptures, Adeney’s works are about controlled states of transformation and of alchemical metamorphosis. Her fascination with the clay’s various stages of being, (malleability, firing, and smoking) mirrors her examination of various stages of personal passage, renewal, and the cycle of transformation. Her work is about human existence and the symbolic purification of fire while it reaches into the depth of our inner selves, touching internal worlds of desires, and possibly, fears.
In the 21st century, politics, technology, and economic globalization have resulted in the merging of people from many nationalities and cultures. Sin-ying Ho’s ONE WORLD/MANY PEOPLES describes the path of such an encounter between colliding cultures and eras. Fragments of various Eastern and Western forms and imagery are juxtaposed to comment on contemporary postcolonial theory, which critiques Imperial Europe by examining such issues as slavery, migration, race, gender, and place.
Throughout the ages, there has been a legacy of representing women and motherhood as an iconographic image of “Women as Vessel.” Usually symbolizing such 'ideals' as fertility, purity, and the nurturing caregiver, these representations were positioned as eternal yet lacked any human experiential dimension. In BROKEN … BUT STILL STANDING, the sculptures by Louise Pentz take us into a world of contradictions where mothering is a deeply personal journey full of on-going learning, teaching, and transformation. Here, women are the vessels of personal identity and experience and our mothers’ legacies of strength, endurance, and faith continue to inspire and guide. "
For more info and images visit the Website.
Tuesday, January 19, 2010
DEADLINE FOR SUBMISSION OF DIGITAL IMAGES: FEBRUARY 5, 2010
Lincoln Arts & Culture Foundation, April 24 to May 30, 2010
Lincoln Arts & Culture Foundation will present its twenty-third annual juried competition of ceramic works April 24 - May 30, 2010 featuring artists residing or working in the United States, Mexico & Canada. This celebratory exhibition of contemporary ceramic art (sculptural, non-functional,functional) will be held on the property of the renowned Gladding, McBean Terra Cotta Factory, and displayed inside an original 35-foot beehive kiln and in the historic architectural design studio. Access to the exhibit is by tour only.
Prospectus available here.
Exhibition Dates: April 16 – June 20, 2010
Location: San Angelo, Texas
The Eighteenth San Angelo National Ceramic Competition highlights a broad range of attitudes in the medium of clay from functional to sculptural work. The show is hosted and organized by the San Angelo Museum of Fine Arts in close cooperation with Angelo State University. This competition is open to all artists who are residents of the United States, Canada, and Mexico. All work, both functional and sculptural, must have been completed within the last two years. Works previously accepted into this competition are ineligible. Work may be entered by either digital images or 35 mm slides. Awards for the show are First place 2000.00, Second Place 1500.00, Third Place 1000.00 and 750.00 going to the Tile Prix Primo which is a special prize awarded by the Tile Heritage Foundation, in cooperation with the San Angelo Museum of Fine Arts. This award goes to the tile maker whose tile in the juror’s estimation best reflects the ceramic traditions of America. Exhibition dates for the show are April 16 – June 20, 2010. An Invited Artist will also have an exhibition of work and will lead a workshop.
In conjunction with the exhibition, several activities are planned. There will be a panel discussion concerning contemporary ceramics held at Angelo State University on April 16th at 1:30 p.m. The panel will include the Museum Director, the Invited Artist and the Juror. The Invited Artist, will lead a workshop at The Old Chicken Farm Art Center on Saturday, April 17th. Numerous other events of interest to artists will occur. For more information on this event and to download the prospectus, click here 18th San Angelo National Ceramic Competition.
Submissions must be POSTMARKED by June 1, 2010
Exhibition idea? No space? The Clay Studio is now accepting proposals for group or thematic Exhibitions. The premise for this program is to provide an individual or individuals the opportunity to develop a show idea from conception to fruition, with the support of the Gallery staff of The Clay Studio.The Clay Studio will provide:
- gallery space (either 365 sq. ft. or 560 sq. ft.)
- an invitation, mailing, and press coverage
- an opening reception
- costs for the return shipment of exhibited work.
Submission ProcessNo slides accepted for review, ONLY DIGITAL IMAGES.
- a 1-page curator's statement detailing the premise of the exhibition and its pertinence to contemporary ceramics in hard copy
- the curators resume in hard copy
- a disc with 2 images of each artist represented within the exhibition. Images must be .jpeg files at 72 dpi, with the image's longest dimension not exceeding 700 pixels. Each image should be labeled as follows: imagenumberyourfirstinitiallastname.jpeg, Example: 1jdoe.jpeg, 2jdoe.jpeg, etc.
- A corresponding image list with artist name, title, medium, size and year created in hard copy
NO DISCS WILL BE RETURNED AND NOTIFICATION WILL BE MADE VIA EMAIL.Individuals may submit only one proposal for consideration.
Return Application to:
The Clay Studio
139 North Second Street
Philadelphia, PA 19106
Selection ProcessThe selection process will be based on the originality and quality of the submission and will be chosen by the Exhibitions Committee of The Clay Studio. The selected proposal will be programmed during the 2011 - 2012 exhibition season. The curator or curators selected will be notified by September 1, 2010.
Please call Artistic Director Jeff Guido at 215.925.3453 x18 or email email@example.com if you have any further questions.
Monday, January 18, 2010
For starters I just wanted to thank everyone for the amazing comments the other day. So nice to have some feedback and encouragement : )
This week I didn't get very far with any of the functional work as I had a moment of fearful realization of exactly how soon my next deadline is for my sculptural work, so I've been focused on that every waking moment. Pieces are rush drying on the top of a hot kiln as we speak. I figured so that I kept up with my resolution that I'd post a sneak peek of some of those pieces in progress. I'll update more very soon as well about where they're going in case anyone has the desire and accessibility to see them in person.
I also had a great skype chat with an amazing friend and artist last night and as always when I chat with her I got some good serious questions to ask myself. Always good to have a friend that will be honest with you and challenge you. So I've got alot to think about in the next little while, especially some thoughts about the sculptural work and the concept behind representing political/social subject matter, how negative the work is sometimes read and if that's at all effective anymore, especially seeing how much the world and our perspectives have actually changed in the last 6 years since I started the project. I'm starting to think that maybe I've been a bit on auto pilot, pumping out pieces without challenging the concept and intent of each enough...more on that at a later time though...right now my head is in a cloud, much like this little man:
As I mentioned last time I'm also working on more of the sculptural vase pieces so here's a shot of the last one I made, which I'm really unhappy with as it reads simply as a cut bowl on it's side. I opened the form too much in an attempt to get a larger size and that ruined it in my opinion. However it does give me a bit of hope as to playing around with scale and displaying various sized pieces together to accentuate the relationships between them and the interesting negative spaces that are created. I'm starting to think that I really need to start working with some larger molds, even if that means that components are repeated. More cut and paste as well to remove the pieces from being 'in the round'. Cutting one side just isn't cutting it (ha!).... I think they could be far more dramatic if they were visibly more unstable and cut on different axises. By the way the paint brushes represent where the flower stems would be.
$300 BEST OF SHOW AWARD
Postmark Deadline for Entry: March 5, 2010
Manifest seeks to energize students and recent graduates of art and design programs towards higher goals, professionalism, and public-mindedness. Therefore, for a sixth year in a row, we offer this challenge to students and their professors in regional and national college programs to show us what you've got, bring it off campus, and share it with the everyday viewing public. We believe there exists tremendous unexposed quality amongst people pursuing degrees in art and design. Revealing young genius is part of our mission!
NOW OPEN TO JUNIORS AND RECENT GRADUATES!
Manifest's is now seeking submissions for the Rites of Passage 2010 exhibit.
All submissions must be postmarked or emailed no later than March 5, 2010.
One exhibit featuring the best work from artists about to receive or recently awarded an undergraduate degree from a regional, national, or international college art or design program. All entrants must have received or be scheduled to receive a college degree in 2009, 2010, or 2011, and provide an academic reference’s contact info.
Exhibit awards may range from one-room solo shows to group exhibits assembled at the discretion of the Manifest jury and curator. The exhibit curator will decide all final exhibit assignments and gallery layouts.
Entrants are encouraged to utilize this opportunity to propose and present thesis exhibits if this is acceptable to their institution of study. The Rites of Passage exhibits may also serve as a recap, or as a supplement to campus thesis presentations.
Media: Work submitted may be in any media, including painting, drawing, photography, printmaking, sculpture, ceramics, video, digital imagery, etc.
Catalog: Manifest will produce a full-color catalog documenting the work in Rites of Passage. Exhibitors will receive one free copy of the catalog. For examples of past catalogs visit the Manifest Press library.
CASH AWARD: A $300 Best of Show prize will be awarded.
Delivery and Return of Work: All work accepted for the exhibition must arrive ready to install. Works not gallery-ready, or not exhibiting good craftsmanship, may be omitted from the exhibit. Accepted work that differs significantly from the entry images or suffers from poor presentation, will be disqualified. Work may be hand delivered or shipped. Shipped works must be sent in a reusable container with return shipping prepaid. Works will be returned in the same manner as delivered or via UPS/USPS. Works will be insured while on gallery premisis. All work must arrive at Manifest by the specified date (see deadlines link). Accepted work must remain on display for the duration of the exhibition.
INSURANCE: Works will be insured while on gallery premises. Insurance covers theft, vandalism, damage caused by gallery patrons or staff (in accordance with insurance policy). PLEASE NOTE: Insurance does not cover damage caused during shipping due to any reason, including mishandling by carrier or failure of packaging to protect works in transit. Also not covered is damage caused to work by failure of the work itself, its mounting systems installed by the artist, or disintegration or degradation due to the nature or quality of materials or craftsmanship.
Entry Fee: $30 non-refundable entry fee for an unlimited number of works entered per artist. Entry fee must be paid by check or money order made payable to MANIFEST, or by credit card via PayPal.
FOR ALL THE DETAILS AND ENTRY FORMS VISIT THE WEBSITE HERE.
Manifest Creative Research Gallery and Drawing Center
RITES OF PASSAGE 2010
P.O. Box 6218
Cincinnati, OH 45206
e-mail firstname.lastname@example.org with questions
Friday, January 15, 2010
The Saskatchewan Craft Council, the Manitoba Crafts Council and the Alberta Craft Council are joining together to organize a major touring exhibition of craft from Canada’s three Prairie Provinces.
12 Craft Artists from each Province will have work selected for the exhibition. Prairie Excellence will tour across the Prairies and Canada and into the United States for a three year period. Exhibition fees will be paid, and work is underway to secure corporate sponsorship for major prizes.
The entry deadline is noon, May 31, 2010.
The attached brochure provides detailed information on this exciting opportunity.
Wednesday, January 13, 2010
The Works Art & Design Festival is a 13 day event that showcases a wide variety of emerging and professional artists from all genres. In 2009, approximately over 290,000 people attended The Works Art & Design Festival which featured over 500 artists in The Works Festival exhibits and Art Market. The Works will celebrate its 25th Anniversary June 25th to July 7th 2010.
The Works is now accepting applications to take part in The Works Art Market. Selected artisans have three options. First a 10 x 10 tent, second a table in a tent shared with other artisans, and third space in The Works Consignment Tent. Tents are provided by The Works at no cost to you. If you are selected to participate in The Works Art Market you will receive the benefits of exposure to The Works Festival audience of over 290,000, promotion in The Works marketing campaign worth over $250,000, and the value of being associated with the largest FREE festival of its kind in North America. The Works extended marketing campaign and media partners include Global TV and The Edmonton Journal. For The Works Art Market application form please follow the link below.
If you have any questions please contact Glyn Evans-Percy at 780 426 2122 ext. 234 or email@example.com
For a 20% Early Bird discount please apply before February 15. www.theworks.ab.ca/societyfolder/calls
Tuesday, January 12, 2010
My approach was to start with an idea, a concept and then find the voice through form and aesthetic to communicate that underlying structure of the work. It was grad school, you had to justify everything (and with good reason), but does that float in the "real world"?
So i'm at a point in my career where I have to accept that money pays the bills and conceptual baggage attached to work doesn't pull on the heartstrings or pocket book of the consumer that will allow me to eat. Does that mean I've lost all my idealism about art and it's values and my role as an artist to engage all of the senses, and most importantly engage the mind? Does the almighty dollar mean that i bow to the masses and create a version of what sells the best on etsy?
Sigh...i don't want to go there. But I also realize that there is a difference between making art that is marketable and art that you could care less if it is marketable. There has to be a grey area that incorporates the two. no?
So I find myself working on creating some pieces that I feel (hope) will be more marketable, but then I feel like I've lost my distinct voice that I worked so hard to achieve through my grad project. I tried so hard to develop a form that wasn't seen here and there and everywhere. But maybe i kid myself in thinking that the work was that unique. I've never been one to believe in original thought, only watered down and altered versions of what already exists....anyhow, this has led me to decide to continue down a path i began last year with these forms:
which in essence were a more sculptural approach, yet still a derivative of the more functional porcelain work of earlier. So we'll see where that goes. There is a very large version sitting drying right now in the studio which i'll try to show you in the next few days.
In the meantime below are some attempts at something else in the functional vein. I've long avoided any surface imagery as I'm a poor illustrator and I'm trying to avoid using decals (not that I don't love them, just don't want to go there yet.) But after recent chats with a local potter and good friend of mine whose work has color and imagery on it, i've come to realize that imagery is a way in for an audience. They can easily relate and they are more often compelled by a single object out of the collection of your work that speaks to their own personal narrative. Is it manipulative for me to think of this and to try to take advantage through incorporating some imagery into my work? hmmm. Anyway I've got some pencils sharpened and some tracing paper at hand to work and rework ideas so we'll see where that goes as well. The following are more for glaze tests so be kind, they are a world apart from my other work i know; but thoughts and criticism is always appreciated.
- Copy @ Gardiner Museum of Ceramic Arts
Location Gardiner Museum Lobby
- Dates Jan 9th – Feb 5th, 2010
- Ceramic artists have borrowed forms and designs from each other and from other media for thousands of years. This mini-exhibition reveals how Canadian ceramic art has been enriched by the appropriation of formal and design elements from sources as diverse as Ukrainian textiles and First Nations ceremonial art.
FILM - Color and Fire: Defining Moments in Studio Ceramics, 1950-2000
Friday January 15, 2010 from 6pm
Free with admission
Los Angeles County Museum of Art, 2000, in conjunction with the exhibition of the same name. 50 minutes
Engaging talks by artists, authors, critics, professors and more.
Cynthia Hathaway: Dutch Ceramics and Design
Sunday January 24 at 4 pm
Goldring Lecture Hall
Cynthia Hathaway, a designer with the Dutch collective Droog Design who often uses the strategies of copying and sampling in her work, will discuss how design practice has resurrected ceramics in the Netherlands.
Yael Novak: Lecture
Wednesday February 3 at 4 pm
$10 public, $8.50 members, seniors, students (includes admission)
Artist Yael Novak of the Ceramic Artists Association of Israel (CAAI) talks about the artists and themes of the exhibition From the Melting Pot into the Fire: Contemporary Ceramics in Israel.
Yael Novak: Tour
Sunday February 7 at 11 am
$10 public, $8.50 members, seniors, students (includes admission)
Join Yael Novak as she leads a tour of the special exhibition From the Melting Pot into the Fire: Contemporary Ceramics in Israel which also includes her work.
Friday April 9 at 6:30 pm
$10 public, $8.50 members, seniors, students (includes admission)
Known for her clay sculptures and extraordinarily rich surfaced pieces, Toronto artist Susan Collett speaks about her work and her master workshop experience in Israel. She will also explore the architecture of Tel Aviv, Jerusalem, Petra, Jordan and the stratified desert landscape of the Dead Sea.
See their website for more info.
Tel +1 416.586.8080
Fax +1 416.586.8085
bi - 1. a combining form meaning “twice,” “two,” used in the formation of compound words: bifacial; bifarious.
Functional: having or serving a utilitarian purpose; capable of serving the purpose for which it was designed: functional architecture; a chair that is functional as well as decorative.
The Saskatchewan Craft Council and Traditions Handcraft Gallery are challenging the imagination and creativity of craft people with a bi-functional craft contest and exhibition.
We are looking for innovative pieces of craft that serve at least two separate and distinct functions. Cheating is not allowed. For example:
- One function cannot simply be decorative or aesthetic appeal – it is just assumed that the craft object will look good.
- The functions must be distinct – a mug does not serve two functions because it can hold both coffee and tea.
Entries should be delivered to the Traditions Handcraft Gallery (2714 - 13th Avenue, Regina) or the SCC Gallery(813 Broadway Avenue, Saskatoon) by Friday, March 12, 2010. Entries or digital images of entries that arrive before the deadline may receive extra publicity as part of a “build-up” for the completion. Collaborative entries are welcomed.
All entries that meet the bi-functional criteria (or tri-function, etc) will be displayed in Traditions for a two week period, with a “people’s choice” ballot for the best piece. The winner of this people’s choice vote will win a prize of $500 cash, plus a one-day shopping spree at Traditions Handcraft Gallery for up to $500 worth of Saskatchewan's best Fine Craft.
It is desirable (but not mandatory) that entries be “for sale” while the contest is running. A commission of 40% on any sales will be charged by Traditions.
Monday, January 11, 2010
This years Design It By Hand Craft Show will be taking place on March 19 & 20th, 2010 at the St Albert Inn & Suites - located at 156 St Albert Trail.
Log onto www.designitbyhand.com to register or for further information call (780) 297-7101.
April 30 - May 2, 2010
This annual conference is the largest professional art function in the region, hosted by the John Natsoulas Center for the Arts. It is a ceramics weekend of over 50 exhibitions, many hands-on clay demonstrations and interactive clay events. The important thing about this weekend is that in two days, visitors can see the biggest collection of student work from over 50 schools, as well as established artists. This grassroots conference and festival will give everyone an opportunity to view work by students of every level of learning and well-known artists. Entering into its 21st year, this event continues to bring the leading national and international ceramic artists to Northern California for a weekend of creative instruction and collaboration. This year the conference showcases lectures and hands-on demonstrations by internationally known sculptors John Mason, Kurt Weiser, Jim Buddy, Jim Romberg, Sylvia Hyman, Darcy Badiali and Michael Bliven. Guangzhen Zhou and Kevin Wallace of the Beatrice Wood Center for the Arts. Kevin Nierman, artist, teacher, and founder of the Kids N' Clay Pottery Studio in Berkeley, will also present free hands-on workshops for kids, allowing children of all ages to experiment and interact with clay.
Contact: Nancy Resler, 530.756.3938
John Natsoulas Gallery
521 First Street, Davis, CA 95616
For more up-to-date information, schedules, and conference registration, please visit www.natsoulas.com.
Raku – The Polaroid of Ceramics
Show dates: April 10 – 30, 2010
The Myers Gallery in Muddy’s Studio is excited to host a show committed entirely to the Raku process. Kevin A. Myers artist, professor and gallery owner will be the juror for this national exhibit.
Criteria for Raku - The Polaroid of Ceramics:
All works will be considered that have a glazed, post-fired, reduced surface.
Application/Submission Deadline: March 5, 2010
About the Juror, Kevin A. Myers
Kevin A. Myers received his MFA form Otis College of Art and Design and he is currently a professor at Orange Coast College. Kevin was hired as a visiting lecturer at UCLA in the late 90’s where he taught Raku and its’ process exclusively. Kevin has conducted Raku workshop for the past 15 years through Southern California. The immediate response and dynamics of Raku are engaging for everyone.
Sunday, January 10, 2010
I just saw this on Craftzine.com Blog and just had to share it.
The irony of having dishware with a garbage truck on it is so fitting to the type of "chef" I am...
The collection is sold by:
You can purchase it here.
Exhibition Runs January 14th – April 11, 2010.
Curators Talk January 14th 7pm at the Museum of Vancouver.
From the Craft Council of BC website:
"Minds and hands work together to bring beauty to everyday objects. The Art of Craft explores the use of traditional craft techniques to explore complex contemporary issues of identity and culture, meaning and metaphor. But the pieces still call to mind the ancient, bodily pleasures of craft making - plunging hands into clay, burnishing metal until smooth, exhaling breath into hot glass – process as art.
The Art of Craft is an exploration of the breathe and depth of Canadian contemporary craft – exploring the supposition that there is “no such thing as a particularly “Canadian” type of craft, there is no such thing as a single, unifying field of “Craft.” Nostalgic ideas about comfort and safety do not exist in the lived reality of Canadian craft. But this is not a negative. Rather, this is a powerful reminder of the fluidity and openness of craft materials and techniques.”(Alfoldy). Canadian craft and process is given an international context by the parallel exploration of the use of ancient Korean craft techniques in contemporary Korean art.
Canada is this year’s official guest country at the Cheongju International Craft Biennale. Over one thousand artists from more than forty countries participate in the Biennale. The Canada Pavilion is a large scale exhibition of our country’s finest hand-made work enabling a deepening of the relationship between the two countries – allowing the Art of Craft to further explore the somewhat stark, sometimes unformed contrasts between two countries and how their two different cultures have impacted the development of contemporary fine craft.
The first exhibition room houses Unity and Diversity art works demonstrating that Canada is home to a dynamic, inspired craft community, one that is defined through its rich layers of difference. As a result of these distinctions a unified voice begins to emerge, one that is fiercely proud of the high level of sophistication achieved by its crafts, and eager to pursue new directions for the field. Canadian craftspeople are globally recognized for their unique contributions to craft.
The second aspect of Art of Craft explores the artistic process. By Hand: BC.Yukon reminds us that sophisticated pieces of fine craft are born in the hands and studios. A short video focusing on artisan’s hands during the process of creating craft objects will provide the contextual backdrop for By Hand. Highlighting the studio, materials, tools, process (from concept sketches and inspiration through to finished piece) – allows the viewer to engage in the various stages represented through various vignettes.
The third exhibition consists of 47 works selected from the 2009 Cheongju International Craft Biennale Exhibition, Korean Craft Museum, Cheongju, South Korea
Korea stands at the epicentre of international craft production with its long-standing traditions and sophisticated contemporary craft artists. Since 1999, the Republic of Korea has supported craft by staging the International Craft Biennale, which brings together craft artists and their patrons from around the world."
Check it out in person if you can, or find more details here.
CRAFT COUNCIL OF BRITISH COLUMBIA
1386 Cartwright Street, Granville Island,
Vancouver, BC, Canada V6H 3R8
tel: (604) 687-6511
fax: (604) 687-6711
Saturday, January 9, 2010
28 April – 2 May, 2010 (during Clay Energy) Masonic Hall, Gulgong
Why 340 grams?
This is the weight of a normal issue of The Journal of Australian Ceramics. Your challenge? Take 340 grams of wet clay and make a bowl or a sculpture.
Conditions of entry:
Members must complete an Expression of Interest Form (download now or call 1300 720 124 and we will mail you one) and submit to The Australian Ceramics Association by 15 February 2010.
A member may submit 1 or 2 works. Each completed work must weigh less than 340 grams.
Each work must be accompanied,on delivery, by an entry form (downloadable from www.australianceramics.com closer to the time).
All works must be for sale. TACA will charge 20% commission on sales.
PO Box 274 Waverley NSW 2024
T: 1300 720 124
F: 02 9369 3742