Sunday, 30 September 2012

Nature into Art: Shozo Michikawa @ Centre Materia

Le Centre remercie pour son soutien financier la Maison des métiers d’art de Québec, école-atelier en céramique, construction textile et sculpture.www.
MATERIA, seul centre d'artistes dédié à l'ensemble des métiers d'art au Canada, a pour mission de diffuser et promouvoir la recherche et la création dans le domaine des métiers d’art actuels, aux plans national et international.

Centre MATERIA | ENTRÉE LIBREOuvert du mercredi au dimanche de 12h à 17h;  
le jeudi, de 12h à 20h.

Flashpoint @ The Plinth Gallery

Plinth Gallery and The Boulder Pottery Lab present, “Flashpoint-An International Wood Fire Exhibition”, a two-month juried show of wood-fired ceramics. Juror John Balistreri, Professor of Ceramics at Bowling Green University in Bowling Green, OH, has selected an exemplary collection of 50 pieces for this exhibition. The works for this show demonstrate a diversity of style by contemporary ceramic artists who continue to use this ancient tradition of firing with wood.

Flashpoint opens First Friday, October 5th 2012, from 5pm-10pm with an artist reception, awards ceremony, a wine tasting from Balistreri Winery and wood fired pizza from Baisc Kneads. A special wood kiln demonstration, construction, and firing, is scheduled for November 2nd and 3rd at Plinth Gallery, to coincide with Denver Arts Week. For further information please refer to the Gallery website or call (303) 295-0717. Plinth Gallery is located in the River North Art District ( at 3520 Brighton Blvd Denver CO 80216.

Friday, 28 September 2012

Suddenly my 3.2 cubic foot kiln seems like a real joke....

There are approx 50 people in this kiln. The kiln belongs to none other than Jun Kaneko (had to be!)
Me I'm kinda speechless. I couldn't get 50 people in my studio, none the less the kiln. 

Thanks to John Balistreri for the image and Cary Esser for sharing it on Facebook.

a site 2 see friday: Ceramics in Mainland Southeast Asia

Ceramics in Mainland Southeast Asia 

Collections of the Freer Gallery of Art and Arthuer M. Sackler Gallery by Louise Allison Cort with George Ashley Williams IV and David P. Rehfuss

Thursday, 27 September 2012

Guest Post by Julia Krueger: Hansen-Ross Pottery ~ Pioneering Fine Craft on the Canadian Prairies

Many thanks to the lovely and amazing Julia Krueger for this post. She's been working tirelessly on the this project as long as I've known her and then some. I'm so happy to see this project finally come together and receive the attention it deserves. Congrats Julie and Heather! 

Hansen-Ross Pottery: Pioneering Fine Craft on the Canadian Prairies
October 3, 2012 to November 30, 2012
Prince Takamado Gallery, Embassy of Canada, Tokyo, Japan
Curator Heather Smith and associate curator Julia Krueger

After WWII, Canadian consumers had a new choice regarding the decoration of their homes. They could either choose that which looked old-fashioned and carried the associations of history or they could embrace modernism including the “Scandinavian” design aesthetic. As Michael Prokopow states in “Design to be Modern” which is included in the book Made in Canada: Craft and Design in the Sixties (2005), “Scandinavian design’s ascendance as the style of forward-looking, forward-thinking people represented nothing short of aesthetic revolution...Accordingly, Canada’s rapid embrace of Scandinavian design as the style of choice in the later 1950s and into the new decade was but part of the country’s determination to be a modern nation” (95). Saskatchewan in the 1950s might appear to be a strange location for “modern” thinking, but the propensity of Saskatchewanians to think “outside the box” (remember that Canadian-style cooperative health care was essentially invented in Saskatchewan during this same period) allows for some surprising manifestations of ideas and art. Even the development of the Saskatchewan Arts Board (SAB) in the late 1940s, an arms-length independently-funded arts agency, was unique in Canada and a contributing factor to why there is so much fine craft activity in this province today.

The exhibition, Hansen-Ross Pottery: Pioneering Fine Craft on the Canadian Prairies, and accompanying catalogue chronicles the development of Scandinavian-inspired, modernist ceramics in Saskatchewan through the work of the Hansen-Ross Pottery, a pottery in operation from 1961 to 2005 in Fort Qu’Appelle, Saskatchewan which grew out of the SAB’s initiative “Craft House” (in operation from 1954 to 1960). Located between two lakes in the heart of the Qu’Appelle Valley and just 70km northeast of Regina, the Hansen-Ross Pottery welcomed thousands of visitors through their doors and also taught numerous production potters and craft enthusiasts throughout the province.  In his essay “A Nordic Heritage: Scandinavian Design in Canada,” which is included in the accompanying catalogue to the exhibition, Alan C. Elder examines the term “Scandinavian” and discusses the impact of the exhibition Design in Scandinavia (exhibited across Canada from 1954 to 1956) on Canadian craft and design and the work of the Hansen-Ross Pottery.

Hansen-Ross Pottery was named for business partners Folmer Hansen and David Ross (1925–1974).  Born in 1930 in Denmark, Hansen completed a four year apprenticeship in his home town before working for various production potteries in Sweden, Norway, and Denmark.  In 1957, Hansen travelled to Canada where he worked for the Deichmann Pottery in Sussex, New Brunswick.  David Ross, a Winnipeg native, who had studied under Cecil Richards (1907–1981) at the University of Manitoba and then worked with Hansen in Copenhagen, invited Hansen to visit Saskatchewan in 1958. Upon his arrival, Hansen helped Ross with his duties at Craft House where Ross had been living and working since 1956.


 Hansen remembers in a 2004 interview that in addition to the ceramic facilities at Craft House “They were [also] teaching all kinds of things. Upstairs, they had looms, and someone teaching weaving. Downstairs, they had woodworking equipment.”  In order to fulfill the handicraft mandate for the SAB, Hansen and Ross did a tremendous amount of travelling.  For example, in 1959 they travelled to at least 14 different towns and cities in three different provinces where they lectured, demonstrated using local clays and ran workshops. Julia Krueger highlights in her essay included in the catalogue, “Hidden in the Valley: Overlooking the Hansen-Ross Pottery,” that the impact Hansen and Ross had on fostering a ceramics community outside of the university setting in Saskatchewan, through lectures, demonstrations, teaching women and children and collaboratively working with other artists such as Lorraine Malach (1933–2003) must not be overlooked.


In 1960, the SAB decided to close Craft House. Hansen and Ross purchased the building and opened the Hansen-Ross Pottery in 1961.  The two potters continued to teach through the Saskatchewan Summer School for the Arts, but as the 1960s came to a close, they did less and less teaching because they had to concentrate on making work to fill the shelves of the retail spaces in the Hansen-Ross Pottery.



Hansen and Ross divided up the production tasks with Hansen doing the majority of the throwing and Ross responding to Hansen’s forms with his dramatic decorative lexicon. 


 Heather Smith notes in her essay “Fertile Ground:  Hansen Ross Pottery in Fort Qu’Appelle, Saskatchewan” included in the accompanying catalogue to the exhibition that “An interesting outcome of two people making pottery collaboratively rather than a single potter working alone is that they could spend more time on each piece. This is particularly noticeable in the amount of decoration that Ross was able to do on a relatively simple form. He would sometimes glaze and do extensive scraffitto work on a little dish or bowl that might be only 20cm in diameter. 


The price of a bowl like that could probably not justify all the work that would go into its making but the results were highly desirable objects” (24).

By 1967, Hansen-Ross Pottery was well-known in fine craft circles in Canada. Significantly, the Canada Pavilion at Expo 67 in Montreal hosted an important exhibition of Canadian craft, as well as fine art. Canadian Fine Crafts, curated by Moncrieff Williamson (1915–1996), indicated that Canadian craft was being taken seriously. Hansen-Ross Pottery had the largest number of works selected for this exhibition from any single ceramics studio; five pieces of their work were included among the fifty pieces of pottery representing all regions of Canada. 

Their professionalism was established by this major exhibition, and they were enjoying considerable success: inclusion in exhibitions, numerous pieces selected for the Saskatchewan Arts Board permanent collection, high visitor traffic and significant sales figures.

However, tragedy struck in 1974 when David Ross was killed in a car accident.  Hansen had to reformulate his production strategy.  The simple, elegant forms of earlier Hansen-Ross Pottery remained, but Hansen streamlined the glazing and decorating process.  Although this retrospective exhibition concentrates mainly on the period when Hansen and Ross were working together, there are examples of Hansen’s work post 1974.


 In addition to streamlining the glazing/decorating processes, Hansen also took on a number of apprentices to help satisfy the demand for Hansen-Ross wares.  Over the years, he hired potters Connie Talbot (now Chaplin), Don Parker (fig. 11), and Brian Ring to help fill the enormous demand for Hansen-Ross Pottery wares.   In 2005, Hansen retried and closed the Pottery.

Connie Talbot (Chaplin)
Don Parker

The exhibition Hansen-Ross Pottery: Pioneering Fine Craft on the Canadian Prairies is comprised of 70 ceramic pieces ranging in dates from 1960 to 2001.  Wares have been loaned from private collections across Canada as well as from the collections of the Canadian Museum of Civilization (Quebec), the Confederation Centre Art Gallery (Prince Edward Island) and the Saskatchewan Arts Board (Saskatchewan).  The accompanying hard cover, coffee table-sized catalogue contextualizes the work of the Hansen-Ross Pottery with contributing essays, a detailed chronology, bibliography and list of exhibitions.  The book is richly illustrated with 70 colour images as well as 87 archival images.

Contact the Moose Jaw Museum & Art Gallery at 306-692-4471 to reserve your copy of the catalogue today.

Touring schedule for Hansen-Ross Pottery: Pioneering Fine Craft on the Canadian Prairies

Prince Takamado Gallery, Embassy of Canada, Tokyo, Japan
October 3, 2012 to November 30, 2012

The Mann Gallery, Prince Albert, SK
November 14, 2013 to January 19, 2014

Thames Art Gallery, Chatham, ON
May 9, 2014 to June 8, 2014

April 30, 2015 to December 30, 2015

Further Reading

Collier, Allan.  The Modern Eye: Craft and Design in Canada 1940-1980. Victoria, BC: Art Gallery of Greater Victoria, 2011.

Crawford, Gail.  Studio Ceramics in Canada. Fredericton, NB: Goose Lane Editions, 2005.

Ebbels, Virginia. Hansen-Ross Pottery. Regina, SK: Dunlop Art Gallery, 1987.

Elder, Alan C. Made in Canada: Craft and Design in the Sixties. Montreal, QC & Kingston, ON: McGill-Queen’s University Press, 2005.

McKaskell, Robert, et al. Achieving the Modern: Canadian Abstract Painting and Design in the 1950s. Winnipeg, MB: Winnipeg Art Gallery, 1992.

Plested, Lee.  From Our Land: The Expo 67 Canadian Craft Collection. Charlottetown, PE: Confederation Centre Art Gallery, 2004.

Smith, Heather. A Way with Clay. Moose Jaw, SK: Moose Jaw Museum and Art Gallery, 2009.

Williamson, Moncrieff.  Canadian Fine Crafts. Ottawa, ON: Queen’s Printer, 1967.

Treat yourself to a cup a month in 2013

Seth Payne

Be the first to purchase a subscription to Watershed’s 25th Anniversary Cup of the Month Club!
Twelve hand-picked artists are making cups for this special collection – each subscriber will receive one cup each month during 2013. Buy your subscription now and don’t miss out on the chance to begin, or add to, your collection with cups made by these nationally recognized artists!
Ted Adler, Victoria Christen, Scott Goldberg, Molly Hatch, Kristen Kieffer, Leah Leitson, Frank Martin, Seth Payne, Lisa Orr, Diane Rosenmiller, Jane Shellenbarger & gwendolyn yoppolo.
Only 12 collections available!  One cup from each artist shipped to your door, gift boxed, each month in 2013!
Price: $1200
Call Watershed today to subscribe! 207-882-6075 or email:

Exposition Plein de Jarres: Eric Soule et Quercy Golsse

Cette exposition s'inspire d'une région du nord du Laos étendue sur environ 1 000 km2 et habitée par d'imposantes jarres de pierre, la Plaine des Jarres, dont la signification et l'origine, pourtant étudiée dès 1930 par Madeleine Colani, une archéologue française, demeurent une énigme. Sur les trois sites ouverts au public se trouvent environ 250 jarres, certaines pesant plusieurs tonnes.

Lors de la guerre du Viêt Nam, le Rolling Thunder (tonnerre ininterrompu) de l'aviation américaine (plus de 500 attaques aériennes par mois) a laissé une myriade de bombes inexplosées. Malgré tout les jarres partiellement enterrées ont survécu aux pilleurs, et en grande partie aux bombardements.
Les habitants de la région se servent encore des énormes douilles de bombes comme piliers pour bâtir des habitations ou greniers.
C'est la terre à la fois protectrice et désormais mortifère que nous avons choisi comme matériau pour notre exposition.
La cuisson a été réalisée en four a bois anagama, four tunnel à flamme directe, ainsi les cendres volantes se déposant sur les pièces brutes, fondent en leur donnant couleurs et matières. Parfois la rudesse de la cuisson au bois fissure les pièces, élargissant ainsi la frontière entre l'utilitaire et le sculptural, espace où les jarres fendues côtoient les bombes utilitaires.

Contained: Keiko Matsui

Sweetened Condensed: Tiny Tales of Wit, Wisdom and Wonder

 She knew she could do better –Noreen Lehfeldt. 
 2012, 33 x 39 cm, ink, gouache, acrylic, digital, collection of the artist

 My parenting is a chain reaction of generationsRuthie Burritt. 
2012, 20 x 30 cm, porcelain, underglazes, collection of the artist

And she asked me over the fence, "have you ever met his wife? Is she still alive?" 
"Yes," I said, "to both questions" –Susan Penrose. 
2012, 33 x 45 cm, ink, gouache, acrylic, digital, collection of the artist

Sweetened Condensed is a series of illustrations and illustrated ceramics by Elizabeth Burritt based on a selection of one-line stories, each by a different writer. The project explores narratives that are restricted in length and convey only the most basic information, thereby leaving space for interpretation and exploration.

The stories were solicited from friends and strangers with the promise that those who penned the selections for the final project would receive prints of the illustrations in return for their efforts. The project created unique collaborations between writers and artists who used blogs to track progress and to allow viewers to witness developments.

Elizabeth Burritt is an artist and designer whose practice includes ceramics, illustration, jewellery and graphic design. Her illustration work is line-based and incorporates gouache, collage and digital mark-making while her ceramics are primarily unglazed porcelain pieces that feature decorations rendered in ceramic pigment and permanently high-fired onto the surfaces. Burritt’s education includes a diploma in editorial illustration from Sheridan College and a bachelor’s degree in fine arts from Emily Carr University of Art and Design. Originally from Ontario, she now lives in Medicine Hat with her husband and two daughters.

Exhibition Information

18 framed works and 5 objects in Plexiglas cases
1 artist
2 crates
50 running feet

The reception is this Saturday during Alberta Culture Day’s at the Yuill Family Gallery at Medalta 1-3pm. 

Curator Xanthe Isbister, Esplanade Arts and Heritage Centre, for the Alberta Foundation for the Arts Travelling Exhibition Program

About TREX
Each year over 300,000 Albertans experience a Travelling Art exhibition, known as TREX. These professionally organized exhibitions travel all over the province to schools, libraries, health centres and small rural museums or galleries. The program is unique, the only one of its kind in western Canada, and runs 12 months of the year, with an average of 7 exhibitions travelling per month. This year 112 exhibitions are scheduled to be on display at over 30 venues from as far south as Milk River to as far north as Stettler, and everywhere in-between.   

Since 1981, the Alberta Foundation for the Arts has supported the Travelling Exhibition program, and it has been organized in our region by the Esplanade Arts and Heritage Centre (formally the Medicine Hat Museum and Art Gallery) for the past 17 years. The program’s mandate is to provide every Albertan with the opportunity to enjoy visual art exhibitions in their community, supporting and promoting Alberta-made art, with each exhibition travelling for 2 years.

Wednesday, 26 September 2012

Reid Flock and David Thai: Neo-Modernism

Two artists working with silica-based materials - one clay (Reid Flock), the other glass (David Thai).  Both artists are pushing the boundaries of the media making it lighter and thinner while working with highly demanding surface treatments.  This exhibition explores the similarities of contemporary design aesthetics arising from advanced production methods, while contrasting the characteristic of these two related silica materials.  Flock (Hamilton, Ontario) brings his experience of working in Hitachi, Japan to his designs, while Thai (Toronto, Ontario) has made a name for himself in Canada.

David Thai and Reid Flock
What: Neomodernism
When: until Oct. 21
Where: Burlington Art Centre, 1333 Lakeshore Rd., Burlington
Phone: 905-632-7796

Jonathan Smith
September 30, 2012 2 - 4pm
Artist Talk:
September 30, 2012  2:30pm

BAC Website

movie day: Derek Weisberg — Porcelain Promises

Derek Weisberg — Porcelain Promises from Shaun Roberts on Vimeo.

A studio visit with Derek Weisberg, photographed in September 2011 during the initial stages of producing work for his solo show "Porcelain Promises" at Greenwich House Pottery, NYC.

Greenwich House Pottery
16 Jones Street, New York, NY 10014

movie day: Porcelain by Dora+Maja

Porcelain from Dora+Maja on Vimeo.

"Short movie about most expensive Ming vases found on Sotheby's, Christie's and other fine arts auction house's sites online that were downloaded, printed on regular a4 paper and assembled into fragile sculptures, wrapped up ready to be shipped to another continent. The video is incarnation of the spirit of the record-breaking Ming Vase, a superb blue and white meiping from the Yongle Imperial Period, which Sotheby's international head of Chinese ceramics and works of art Nicolas Chow vividly describes as "macho" in reference to its atypically un-waisted broad shouldered shape. Exploring the The China Factor as a current cause of Westen art market instability, the ghetto boys bring their Alpha and Revenge of Koons over China, while every violent act they perform is celebrated by cathastropic soundtrack"

Thoughts musing readers?

Brendan Tang: Manga Ormolu Series

opening reception: Thursday, October 4th, 6pm
exhibition dates: October 3 - 27

Brendan Tang
Brendan Tang has exploded onto the contemporary Canadian art scene with his ceramic work; hybrids of traditional Asian vessels and current pop cultural sensibilities. Tang represented Western Canada as a finalist for the prestigious Sobey Art Award and has been exhibited extensively across the North America, including at the Vancouver Art Gallery, The Mendel Gallery, the Seattle Art Museum, the Denver Art Museum and early in 2013 his work will be included in an exhibition at the Museum of Fine Arts in Boston.
Manga Ormolu Version 4.0b,
16" x 8" x 12"
Ross Penhall
gallery jones1725 West 3rd Avenue, Vancouver, BC V6J 1K7

Tuesday, 25 September 2012

Upcoming at AKAR: Judith Duff and Ron Meyers

AKAR Design Home page
Upcoming Show
Next Show:
Judith Duff and Ron Meyers

Two potters; often working in familiar methods to educate us in how we blur the lines of sculptor and potter; artist and craftsman, enduringly prolific and memorably recognizable. Ron Meyers, a Georgia artist and educator, has invited close friend, Judith Duff, to accompany him this month at AKAR Gallery. While both artists employ the wood and salt kilns as a means by which to finish their work, Duff's work can be described as more sculptural, multi-surfaced and angular while Meyers' selection is often functional, illustrative and at times confrontational. With carved and painted anamorphic depictions on the vessels, Meyers appeals to the animalistic creativity in us all. Duff relies more on subtle shapes, colors and lines to create introspective and composed work. Opening September 28th, we are delighted to have these artists return to our gallery with New Work by Lauren Gallaspy.
Next Featured Artist:
Lorna Meaden
This month we are drawing attention to the richly ornamented work in our gallery by Lorna Meaden. The surface details of her pots are inspired by the embellishments on clothing and costumes; often she references stripes and polka dots. Lorna is concerned that we are moving away from objects that are made by humans for humans. "The handmade object serves as an illustration of the individual, the unique, the useful."

Next New Work:
Lauren Gallaspy

We are proud to announce Lauren Gallaspy as this month's New Work artist. Lauren always seems to put her best foot forward for the gallery and once again we have been rewarded with intimate drawings and new forms. Bringing conscious thoughts to a third dimensional calling is taxing to say the least, "... on the best days, I'm B'rer Rabbit, shoving myself into a Tar Baby trap until we're both unrecognizable, and I'm left a mess and laughing". Lauren comes through again, leaving us all in a contemplative yet satisfied "mess" this month.

Shows opens this Friday, September 28th, at 9:30 AM in the Iowa City gallery and online at 10:00 AM CST. View the show at

AKAR. 257 E. Iowa Avenue. Iowa City. IA 52240. T: 3193511227. WWW.AKARDESIGN.COM

Call for entry: Townsville Ceramic Awards

To be exhibited at Perc Tucker Regional Gallery, Townsville
9 until 25 November 2012

The Townsville Ceramic Competition is organised by the North Queensland Potters’
Ass. Inc. to increase public exposure to a high standard of pottery from around the
nation. Not only has the competition been successful in attracting entries from well known
potters showing their current work but it has also provided a showcase for
emerging ceramic artists. This year the Major Award of $10,000 will ensure the
continued growth of the ceramic collection at the Perc Tucker Regional Gallery,
which also provides an excellent venue for entries to be exhibited.

Major Award $10,000 Open (Acquisitive)
Now Office Furniture Award $2000 For use of innovative technology (Acquisitive)
Scott Brickworks Award $1500 Open (Acquisitive)
Loloma Jewellers Award $1000 Open (Acquisitive)
Fourex Clothing Award $500 Open (Acquisitive)
Rainford Award $500 Open

To be judged by Janet Mansfield

Entry forms and fees due Monday 8 October
Receiving date for entries Tuesday 6 November
Official opening Friday 9 November
Exhibition closes Sunday 25 November
Collection date for entries Monday 26 November
Generously supported by Townsville City Council

REMINDER: Nceca Emerging Artist deadline is right away!

ENTRY DEADLINE: OCTOBER 1, 2012 (midnight MDT)

NCECA’s Emerging Artists program recognizes exceptional early career artists through a monetary award, and the opportunity to present their work to an international audience during NCECA’s Annual Conference. The monetary awards as well as opportunities for increased exposure through exhibition and special events are made possible in part through the generous support of the Windgate Charitable Foundation.
NCECA defines an Emerging Artist to be one who is beginning to receive recognition for his/her work but is currently underrepresented, does not have representation by a nationally prominent gallery, and is creating work that offers new/exciting/thoughtful perspectives that expand upon a genre of creative production and inquiry. 

Because the concept of emergence in the arts does not readily correlate with a specific age, or other easily quantifiable terms, NCECA requires applicants to briefly describe why they perceive themselves to be at an emergent point in their careers and how they anticipate the award will impact the trajectory of their endeavors. The review committee, at their discretion, may eliminate candidates that are considered to be beyond “emerging.”  Applicants are also required to provide letters of support from two figures in the field who are familiar with their work and drive to create. Letters should provide the selection committee with a sense of confirmation of the candidates’ seriousness of commitment and potential for continued development.
Applications are welcomed from artists working with ceramic materials/processes as a significant component of their work.  Applicants may not be students.  A current NCECA Membership, at the time of application, is a required to be eligible to apply for NCECA’s Emerging Artists. NCECA Membership fees are not included in event registration. Membership requires payment of an annual fee. CLICK HERE to apply for or renew your membership.
NCECA’s 2013 Emerging Artists selection committee will consist of NCECA Director at Large, Sam Chung and two additional members, distinguished internationally exhibited artists Denise Pelletier and Chris Antemann.  The committee will select six (6) Emerging Artists who will receive complementary registration in NCECA’s 47th Annual Conference and be awarded an additional year’s membership. Applications will be due October 1, 2012 and the review committee will reach its decisions before the end of October 2012 after which applicants will be notified.
Awardee Benefits and Requirements
A formal agreement outlining terms and conditions associated with this honor will be sent to the selected artists soon after jurying is completed. Selected artists’ images and application materials will be retained by NCECA and will be held in the NCECA archives. Images may be used to promote NCECA’s Emerging Artists program and may be posted on NCECA’s website and contributed to a new NCECA image community being developed in cooperation with AccessCeramics. Emerging Artists will be considered conference presenters and will therefore be ineligible for a presenter role or honorarium in the year following the award.

Artists selected as 2013 Emerging Artists are required to provide a written summary of their presentation for the NCECA Annual Conference for publication in the NCECA Journal by December 18, 2012. This summary must be accompanied by five 300 dpi images appropriate for print publication. Also required by this date is a 50-word abstract of this submission to be included in the 2013 NCECA Conference Program Guide.  The selected artists will be required to attend the 47th Annual NCECA Conference, participate in special “meet and greet” events with collectors, prepare remarks and make presentations (approximately 10 minutes in duration) during the Second Members’ Business Meeting on Saturday, March 23, 2013.  Emerging Artists will receive a $2500 award that will be presented during the closing ceremonies of NCECA’s 47th Annual Conference at the George R. Brown Convention Center in Houston, TX. Emerging Artists will also be eligible for a shipping reimbursement to transport work for a featured exhibition at the conference center from March 19-22, 2013. Artists are required to help install/de-install their work and be present periodically during the course of the Emerging Artists Exhibition.  Emerging Artists will also be required to participate in individual interviews to be posted in the NCECA/Crafthaus Blog. Emerging Artists will be expected to contribute periodic postings to during the year following their presentations at the conference. Images of their work will also be incorporated in a new NCECA image library that will be developed in cooperation with

Application Submission Checklist

Applications must be submitted completely electronically. Please prepare the following BEFORE starting the ONLINE submittal form as you will need to UPLOAD the following:
  1. Two (2) 1-page Letters of Recommendation from professionals in the field of ceramic art. Applicants will be required to provide the following contact information for Recommenders: First Name, Last Name, Relation to applicant, Phone #, and Email address.

    Options to submit letters:
    a. Receive the letters from your recommenders in .doc or .pdf format and upload them to the ONLINE application. OR
    b. If the recommender prefers to send their letter directly to NCECA please have them email their letter to NCECA.EA.LETTER stating the NAME OF THE ARTIST in the subject line.  
    If this option is selected
    , applicants will need to upload a document in .doc or .pdf format to the Online submittal form stating "Letter of recommendation from (RECOMMENDER NAME) will be e-mailed to" *** Please note: The application will not submit successfully unless a document has been uploaded to each Letter of Recommendation box.

  2. Resume (two page maximum) in .doc or .pdf format (file size must be under 1mb)
  3. Artist Statement describing your work and work process. (250 word maximum, paste or type)
  4. Statement articulating why you believe you are at an "emerging" point in your career, and how this award will benefit your studio practice (150 words maximum, paste or type)
  5. Exactly 10 images-(Image Preparation Guidelines) The following details are required on each image: Title, Brief image description, Type of clay, Firing/ Decoration method, Date, Size, Weight, Insurance value, Retail value.

    Click here to view the ONLINE FORM

technical tuesday: some things seem so obvious once you see them...

Plastic wrap over the clay before you cut to get smooth edges, plus the clay doesn't stick to your tool.

Monday, 24 September 2012

Job Posting: Visiting Assistant Professor in Ceramics

Position Announcement

Title:                                    Variable-time Visiting Assistant Professor (Ceramics), School of Art and Design, SIU   Carbondale.

Rank:                                   Visiting Assistant Professor (non-tenure track).

Start Date:            January 1, 2013. This is a 4.5 month appointment with the possibility of renewal contingent on performance and curricular need.

Qualifications:            MFA degree in ceramics required at time of application. Applicants must demonstrate a strong commitment to teaching. University teaching experience beyond graduate teaching assistantship level is preferred. Applicants must have good communication and organizational skills and have the ability to work closely and productively with another faculty member as well as undergraduate and graduate students in a successful BFA/MFA program. Knowledge and skill of traditional and contemporary ceramic techniques and methodologies is required. Applicants must also be able to teach courses in one or more of the School’s program areas in addition to teaching ceramics, such as  2-D, 3-D foundations, and or drawing.  Applicants must have an ongoing program of creative activity that promises continued professional achievement and recognition.  Computer skills are desirable.

Duties                                      The assignment will include teaching courses in ceramics at various levels and/or teaching a course in another area within the School of Art and Design.  The assignment will include coordination and maintenance of the ceramics studio, including ordering of shop supplies and supervision of student workers and graduate assistants. This position requires the faculty member to have a regular and accessible presence in the ceramics studio.  A work space will be provided. 

Application Deadline:              November 15, 2012 or until filled.

Application Procedure:            Send letter of application, resume, three current (within the past 12 months) letters of recommendation, 20 slides of own work, 20 slides of students' work, if available, and official transcript.  Further portfolio or dossier material may be requested.  Submit to:  Pattie Chalmers, School of Art and Design, Mail Code 4301, 1100 S. Normal Ave., SIU Carbondale, Carbondale, IL 62901.

The School:            The School offers a BFA degree with specializations in Art Education, Industrial Design, Communication Design, Painting, Drawing, Printmaking, Sculpture, Ceramics, Glass, and Metals/Blacksmithing; a BA degree in Art with specializations in General Studio, Art Education, and Art History, a BA in Design with specializations in General Design and Industrial Design; an MFA degree with specializations in Painting, Drawing, Printmaking, Sculpture, Ceramics, Glass, Metals/Blacksmithing; and a graduate certificate in Art History.  The ceramics program at Southern Illinois University Carbondale is part of the School of Art and Design. The program has seven full time graduate students with individual studio spaces and offers BFA and MFA degrees. Facilities include a soda kiln and wood firing kiln.

Southern Illinois University Carbondale has an enrollment of over 16,000 students and is a Carnegie Doctoral/Research-Extensive institution.  The School of Art and Design, which is housed in the College of Liberal Arts, has 25 full-time faculty members, 450 undergraduate majors, and 50 graduate students and is accredited by the National Association of Schools of Art and Design (NASAD), 11250 Roger Bacon Drive, Suite 21, Reston, VA  20190; (703) 437-0700.

SIU Carbondale is an Affirmative Action/Equal Opportunity employer that strives to enhance its
ability to develop a diverse faculty and staff and to increase its potential to serve a
diverse student population. All applications are welcomed and encouraged and
will receive consideration.


CCF/FCMA logoThe Canadian Crafts Federation / Fédération canadienne des métiers d'art is proud to present Hindsight/Foresight, our first annual Contemporary Craft Symposium.  The Symposium brings together professional voices from across the country for a discussion on their past, present and future, and the influences that have affected their careers. 
As the title suggests, speakers will explore their own personal histories and their plans for the future. They will explore the effect national recognition and other milestones have had on their practice, and their impressions of contemporary Craft in general.

Hindsight/Foresight is intended to fuel interest in Contemporary Craft practice and showcase the broad range within the field. Each speaker is a recipient of the Bronfman Award. The presentations and discussions will celebrate the community of excellence recognized by the Saidye Bronfman Foundation, (now one of eight Governor General's Visual Arts Awards) which highlights the best in Canadian visual art each year with a $25,000 award. With this common thread, the speakers and moderator will discuss not only the development of Craft in general, but the impact of recognition and awards on the local, national and international community.

Each speaker comes from a different material practice, including ceramics, metal and wood. Their experiences intersect and diverge across the spectrum of Craft, with both shared and unique experiences throughout their esteemed careers. The perspectives presented on practice and the purpose of Craft will preface a panel discussion where audience members have the chance to ask questions and be engaged in the debates.  This is a key focus of the Canadian Crafts Federation / Fédération canadienne des métiers d'art, whose annual activity regularly focuses on sharing, collaboration, awareness and appreciation of Craft with our regional partners, the Provincial and Territorial Craft Councils across Canada.

Hindsight/Foresight provides the opportunity to inspire people in the local and national cultural community to talk about the potential of Craft, artistically, economically, and conceptually. At its core, the symposium is intended to incite debate, reflection and inspiration. We hope you will join us for the exploration!

Project made possible with funding from the Canada Council for the Arts.  
Hindsight/Foresight will take place in the Lecture Hall at the National Gallery of Canada on October 18, from 3 – 7pm. Be sure to get your tickets in advance as seating is limited. Book your ticket today! 

Speakers: Paul Mathie, Michael C. Fortune, Kye Yeon Son, with moderator Charles Leton-Brain

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