Thursday, 28 February 2013

Residency opportunity - Munson-Williams-Proctor Arts Institute School of Art

The Munson-Williams-Proctor Arts Institute School of Art is seeking 7 qualified applicants working in different media for its NEW 12 month Artists-in-Residence program to begin Fall 2013. Arrival on campus is expected during the week of August 19, 2013. Artists must commit to the full 12 month residency program.

Objective: The objective of the Artists-in-Residence program is to provide additional expertise and experiences and awareness of new techniques and approaches to our students, faculty, staff and general public within our educational programs at MWPAI. MWPAI Artists-in-Residence will have the opportunity to work in a stimulating unique environment that consists of our Museum of Art, Performing Arts and School of Art. The MWPAI School of Art is comprised of two programs – PrattMWP college program and Community Arts Education program of art and dance. Artists-in-Residence must be willing to live and work as part of a close-knit community in this perfect opportunity for an early career artist. The Resident will have exceptional resources in which to hone their skills, develop new works, gain experience as a working artist or to pursue a teaching career, gain public exposure through PrattMWP and CAE events, help educate the public about the arts while making connections with the Utica community and have unique opportunities to interact with Museum professionals and visiting art professionals. The Artists-in-Residence will also have access for personal and professional research at our on-campus Art Library that hosts an impressive art reference collection of more than 26,000 titles.

Qualifications: MFA preferred with residencies available in the following studios: Ceramics, Communication Design, Dance (Costume Design), Jewelry/Metal Arts, Painting/Drawing, Printmaking, Sculpture

Length of Residency: 12 months with opportunity for renewal of 2nd year depending upon individual faculty/departmental needs. Arrival on campus is expected the week of August 19, 2013.

For more details visit their website here.  

Application and Selection process
Application deadline is March 15 with notification to selected Artists mid-April. Interested applicants should provide the following in their application packet: Cover Letter, CV/Resume, Artist Statement, 15 to 20 digital images of recent work with corresponding image list, images of student work if available, list of 3 professional references and SASE for return of materials if appropriate may be sent to:
Ms. Janelle Roginski
Community Arts Education Coordinator
MWPAI School of Art
310 Genesee Street
Utica, NY 13502
315∙797∙0000 ext. 2304

Introducing: The Clayer: Surfacing e-course!

The Clayer: Surfacing

a 6-week e-course with Diana Fayt
Registration: $139 
March 11 - April 18, 2013
(registration ends April 25th)

The Clayer, Part One: Surfacing, will be a place to learn how to create rich and dynamic surfaces on clay. The course will run for six weeks from March 11th to April 18th,  2013.  During the six weeks we will cover various surface applications on clay such as: mishima inlay, monoprinting on clay, carving and printing with your own block prints. We will explore using unusual objects as printing tools as well as learn how to use other clay drawing media. 

Throughout the course Diana will discuss image development as well as teach you how make templates from your own images and how to transfer those images to your clay surfaces. The setting will be a warm and safe, no pressure environment, where we share what we make and learn with other participants and positive feedback is encouraged.  

You will also get a glimpse into Diana's world, where she will share her own personal inspirations, stories as well as a recipe or two. Are you ready to be a Clayer?

Residency opportunities @ the EnergyXchange

The EnergyXchange in Burnsville, North Carolina provides residencies for artists in Clay and Glass, as they launch their careers. We're accepting applications for 2 Clay residencies, both beginning in October, 2013.  Applications are due May 15, 2013.
The EnergyXchange Craft Incubator program was established to support six talented artists in starting, managing, and operating their own small businesses in the crafts of glass blowing and pottery. The residents have years of experience already devoted to their respective craft. The goal of the program is to help artists at the beginning of their careers further develop both their craft and business skills, leaving EnergyXchange with the ‘know how’ and experience necessary for success on their own or in other craft studios.
The artists while at EnergyXchange perfect their craft, develop their businesses, and live in our community. The program supports two glass artists and four clay artists. The clay kilns and glass furnaces are fired with landfill gas at no additional cost to the residents. In the creation of their pieces of art, the EnergyXchange artists are also helping the environment and the local economy.
The idea for EnergyXchange was created through the partnership of three organizations–Blue Ridge Resource Conservation and Development Council (BRRC&D), HandMade in America (HandMade), and Mayland Community College (MCC)–all recognized for their strong track records in education, the promotion of crafts, and community and resource development and environmental protection in Western North Carolina.  EnergyXchange has become one of the nation’s model energy recovery projects and is used regionally, nationally, and internationally as an example of successful small landfill gas projects. Methane gas from the decomposing trash powers a hot shop for glass blowers, a pottery kiln, and supplies radiant heat for the studios, greenhouses, education center, offices and art gallery.
Please visit

Wednesday, 27 February 2013

Sneak Peek - In the Mix @ Crimson Laurel Gallery

So back in January you'll likely remember me writing about Arrowmont and the amazing artists I meet there over the course of a week long residency called Ceramic Surface Forum, put together by the sickly talented, and ever so lovely Jason Bige Burnett. Well I'm thrilled to say that this Friday "In the Mix" will be opening at Crimson Laurel Gallery and will include work by all of these incredible artists. Just looking through the images tonight to put together this post I was struck by how much I missed them all and by how much I learned from them even in such a short period of time. So it's a honor that my work will be shown beside these great artists, and in such a prestigious gallery as well. If you're in the neighborhood please stop by and check it out in person. And take some pictures for me as my heart will be there, but sadly I can't make the long trip!

Artists in order of images above:

Adams Puryear, Alex Irvine, Ben Carter, David Eichelberger, David Gamble, Elisa Difeo, Elizabeth Kendall, Carole Epp (that's me!!!!), Emily Reason, Kelly O'Briant, Lana Wilson, Natalie Tornatore, Rachel K. Garceau, Roberta Massuch, Richard Nickel, Sandi Pierantozzi, Tracey Gamble, Nathan Prouty

23 Crimson Laurel Way
Bakersville, NC 28705
(828) 688-3599

How about a residency @ Medalta?

MEDALTA residency applications due April 15

Medalta Residency Deadline – APRIL 15

Time’s running out – if you’re thinking of applying for a Residency at Medalta, our deadline is approaching! We have a great lineup of short and long-term opportunities available for you. To apply, fill out our residency application form and submit your package by April 15.

Study with Walter Ostrom in China this Fall!

West Virginia University (WVU) China Ceramics announces Walter Ostrom as one of our Fall Semester China Ceramics Program Visiting Artists!

More Info:

Join Walter and WVU at the Pottery Workshop this Fall Semester in Jingdezhen!

Walter Ostrom is an influential ceramic artist who has revived and modernized the making of low-fired tin-glazed pottery in Canada. He was born in Binghamton NY and is a graduate of Ohio University. Walter recently retired as the Professor of Ceramics at Nova Scotia College of Art and Design (NSCAD). His work has been featured in collections and exhibitions worldwide, including the Canadian Museum of Civilization and the Victoria and Albert Museum, London. Walter was one of the first western artist/educators to begin traveling to Jingdezhen, to study, teach, and research Chinese Ceramics.  Announcements for additional Visiting Artists will be made in the near future.

Through a unique linkage, West Virginia University and Pottery Workshop have teamed to offer a comprehensive study and travel opportunity for students and the serious advanced or professional ceramic artist/potter.  Join us for a once in a lifetime experience and join us in the Imperial Porcelain Capital of Jingdezhen.  Participants will have the opportunity to study with some of China’s most prominent teachers and ceramic artists.  For those who interested in undergraduate or graduate credits, the WVU China Ceramics Program will enable you to earn accredited WVU credits for the programs. 

Imperial Blue & White Porcelain Capital of Jingdezhen, Qin's Terra Cotta Army, Great Wall of China, the Forbidden City, the hustle and bustle of Shanghai. Join us for a experience of a lifetime!

Fall Semester 2013
September 7 – December 14
(Dates and prices may vary slightly)
12 Credit Hours: Graduate or Undergraduate
Cost: 12 Credits/Tuition and fees $10,900*
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 meals during the Xian and Beijing travel components.

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.

If you or anyone you know may be interested in either of the 2 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!

Shoji Satake
Assistant Professor of Art
West Virginia University
College of Creative Arts
School of Art and Design
Creative Arts Center
PO Box 6111
Morgantown, WV 26506

Tuesday, 26 February 2013

Don't miss out - Residency application deadline is this Friday!!!

Find all the info you need here.

Archie Bray Foundation for the Ceramic Arts
2915 Country Club Avenue
Helena, MT 59602
Office Phone: 406-443-3502
Fax: 406-443-0934

Call for artists: VII FIRA DE CERÀMICA

Fira de ceràmica


El Vendrell

From 10th to 13th October 2013



1.    All ceramists can ask for taking part of the fair.

2.    All kind of ceramics can be exposed. The work must be always self-made.

3.    In order to be exhibitor, before 15th July 2013, 5 digital photos and the CV of the author must be sent to the e-mail The following registration form

4.    In case of a group with different works, the work of each member of the group must be included.

5.    The organization will choose a maximum of twenty exhibitors.

6.    The exhibition place will be a white corner stand of 5 m2, with upper illumination and electric connection. The commission of the organization will inform the selected exhibitors about the technical characteristics.

7.    The fair, as well as the different ceramics activities, will be done on the town centre of El Vendrell.

8.    The price of the stand is 120,00 € (taxes not included). In order to take part of the fair, the exhibitor must have minimum one stand.

9.    The furniture and the accessories of the stand will be paid aside from the amount of the stand.

10.    The stands will be at exhibitor’s disposal from 9 am of 10th October 2013. The placing of the works must be ready that day at 6 pm.

11.    The fair opening hours will be the following one: Thursday from 6 pm to 10 pm and Friday, Saturday and Sunday from 10 am to 2 pm and from 5 pm to 10 pm.

12.    The fair will be closed at 9 pm on Sunday 13th October 2013. From then on, the exhibitor can take his properties away from the stand.

13.    The inner installation of the stand must be done by the exhibitor.

14.    Banners going out of the front part of the stands can not be installed.

15.    Having a stand means that at least one person must be on the fair during the opening hours.

16.    Bags of 36 x 41 cm with the motto “El Vendrell. La Ceràmica” will be at exhibitor’s disposal.

17.    The organization has a total coverage of third-party insurance available. The exhibitor must take care of the security and the protection of the exhibited objects. Theft and fire insurances must be chargeable to each exhibitor.  

18.    The trade fair place will be watched over by a special municipal service.

19.    In order to guarantee some sale volume, a system of vouchers will be established with the enterprises of the region, which will be able to choose any work they are interested in.

20.    Taking part of the fair means accepting the rules. The organization reserves the right to modify or complement these rules for the good development of the fair.

Residency Opportunity @ Noble and Greenough School

The Artist in Residence Program at Noble and Greenough School is an eight-week residential program for visual artists.  The program seeks to foster collaborative relationships between the artist and the school’s community of students, faculty and parents.

The artist will live on the Nobles campus, a 187-acre property in Dedham, Mass., and have access to studio space within the visual arts department facilities. The residency will culminate in an exhibition of work at the school’s Foster Gallery. The successful candidate will receive a $2,500 stipend.
Noble and Greenough is a rigorous academic community for students in grades 7-12.  The school is located 10 miles southwest of Boston and serves both day and boarding students from the surrounding area.  For more information on Nobles, its programs and facilities, please explore the school’s website.

Click here for Artist-in-Residence Application Information and Guidelines.

technical tuesday: Mitch Lyons - Unique handbuilding without a seam

Source: via Carole on Pinterest

"In this two-part program, award-winning clay artist Mitch Lyons shares with you some of the unuque handbuilding techniques he has developed over the past four decades. In the first second, he shows how to apply various textures, colored clays, and colored slips using his "Broomstick" method for making ceramic forms without a seam. The second section demonstrates "Handbuilding on the Wheel".

Monday, 25 February 2013

Variations on Symmetry: Eliza Au and Ying-Yueh Chuang

Artist Studios at Mudflat

In our new facility, Mudflat has expanded our studio artist program to include more clay artists in a broader range of studio spaces and at a variety of prices. We now have 2 types of artist categories: Resident Artists and Associate Artists.

  • Resident Artists are professional clay artists who have the technical skill and experience to fire their own work in the studio kilns. Studios for Resident Artists are private individual spaces or shared studios with 1 other artist, or with 3 other artists. Monthly rents range from $200-$305 per artist..
  • Associate Artists are serious clay students looking for more access, privacy and shelf space. There are 2 large group studios of approximately 285 square feet each to be shared by 6 artists each. These studios are equipped with a work table and shelving unit for each artist plus a central work table and 1 pottery wheel in each studio room. Associate Artists' work will be fired by Mudflat technicians. Monthly rents are $225 per artist..
Both Resident Artists and Associate Artists have 24 hour studio availability, and use of other studio and classroom equipment. The monthly rent does not include clay materials, glazes or firings, but clay, glazes and firings may be purchased through Mudflat for additional fees. A committee reviews all applications based on the following criteria: Applicant's level of professionalism, artistic quality of work, and commitment to the Mudflat community.

For information on availability, fees and application procedures, call or write to the Director.
Mudflat Pottery Studio, Inc.
81 Broadway
Somerville, MA 02145

monday morning eye candy: Christiane Wilhelm

Sunday, 24 February 2013

HOT MUD: Emerging Canadian Ceramists

Call for Entry - Deadline March 15, 2013 

The Burlington Art Centre is now accepting submissions for the exhibition Hot Mud: Emerging Canadian Ceramists. The exhibition will take place in the Lee-Chin Family Gallery at the BAC, from September 7 to November 4, 2013.

Exhibition Focus
A survey of the most exciting and promising emerging artists working with ceramics in Canada today, selected by senior Canadian artists and curators in five regions across the country.

Emerging artists are those at an early stage in their careers and have created a modest independent body of work. To be eligible for this exhibition, artists must have completed basic training, are recognized by other artists working in the field, have a history of professional exhibitions and publications, and who have maintained an independent professional practice for a minimum of three years to a maximum of ten years prior to their application. Submissions by individual artists, groups, and collectives will be considered. 

Atlantic Provinces & Newfoundland - Gloria Hickey
Quebec - Alan Elder
Ontario - Rachael Gotlieb
Prairies & the Territories - Greg Payce
British Columbia - Sally Michener

  • Cover letter with current contact information and one paragraph biography
  • CV and one page artist statement
  • 15 numbered and labeled images, JPG format, no larger than 500kb, with accompanying image list
  • Self-addressed return envelope
Send no later than March 15, to:
Burlington Art Centre
1333 Lakeshore Road,
Burlington, ON   L7S 1A9

For more information please contact:
George Wale, Director of Programs
Jonathan Smith, Curator of Collection

Steven Branfman - New Work in Raku

Saturday, 23 February 2013

Help support Cook on Clay on Kickstater

Fire It Up! A New Kiln for Cook on Clay

by Robbie Lobell & Maryon Attwood

This cookware goes from oven to table and never breaks a sweat. We need a new kiln that can take the heat!

Website: Donate to them on Kickstater here.

Help support Forrest Lesch-Middelton on Kickstater

Origins Tile: Making a difference one tile at a time.

by Forrest Lesch-Middelton

Through my work in clay I convey a passion for the parts of the world that are often misrepresented when portrayed through war and media. A few months ago a amazing company saw potential in my work and made an offer to represent my Origins series of tile. In fact, Clé Tile believes strongly in what I am doing and they have worked quickly to feature Origins tile in The New York Times, and other major design publications. As a result, more people have heard about my tile, leaving me unable to produce at a rate that meets demand. Through Kickstarter I hope to raise $20,000 to expand my studio so that it is able to scale to meet any project, while still maintaining the integrity of the hand made.

For full details and to donate please visit his kickstater page

Thursday, 21 February 2013

Guest post: Carter Gillies

image via
One of the changes I'm hoping will evolve on musing over the next year is the inclusion of more guest posts by other artists and writers. I have always hoped that musing could become more of a space for dialogue, debate and critical writing. This voice shouldn't me solely my own as this is a blog for the community, so I am encouraging anyone and everyone that is interested in writing for musing to get in touch. I'm open to just about anything you can come up with so long as it's some how clay/craft/art related.

Earlier in the week I posted the video Adopt a Potter by Lisa Hammond, and Carter Gillies has started a great conversation in the comments of this post. Now I often worry because musing is often a bit thin on comments that people might miss these conversations that happen in the background of a post. So I've asked Carter to present some of this discussion here as a guest post. I encourage you to go back and read the comments, and of course add your own thoughts to the conversation.

Make sure as well to check out Carter's website here for a glimpse into his incredible practice and for a wonderful read of a great established blog, which if it isn't on your reading list, it should be.

Thanks Carter!

The following is Carter Gillies:

When I think of current and recent eminent potters almost all of them either were pottery students at Universities or had some exposure there which led them to pursue it outside academia. The exceptions right now are a rare breed. How many of today’s great potters had absolutely no contact with pots in college? Can you name even a few? So what happens when fewer and fewer people have that opportunity? What will happen if some depressing future day no one has that chance to study pottery in school any longer?

In the video Carole posted a few days ago, the potter Lisa Hammond proposes that apprenticeships are at least one of the solutions to what she and I both see as a problem facing the art of pottery making. She talks about being “really disheartened” by “the demise of colleges and ceramics colleges closing down” and what needs to be done “until those in power realize what’s missing”.

This seems like an issue that impacts potters not only now, but the future of our craft. Is it something we can talk about? Are we interested in talking about it?

Lisa Hammond and some others are suggesting that apprenticeships are a stopgap measure to fill the need for ceramics education, and obviously it is a path to serious professionalism. I just worry that this alternative is far too small a band-aid on the hemorrhaging of potters from Universities. This is an extremely narrow chute to pass the future of all pot making through. The question I need to ask is whether apprenticeships will be enough…..

How many working potters can afford to take on apprentices? How many of those will have the time and commitment to replace full time University instruction? If even one out of every ten potters were able, would this be enough to keep the momentum going? And if this is our only solution will it ever be less a bottleneck than our current situation?

And the question is also how a person got to the point that they were willing to commit to a one to four year span of learning a trade from a professional potter. They won’t often be starting from scratch. And few potters would accept them if they didn’t already demonstrate the serious motivation to be there and learn. Really, apprenticeships will only fill the need of a ‘finishing school’. And while it is a viable means of honing one's skills and knowledge, it almost seems too quaint and romanticized a throwback to have much currency in the modern world. It speaks of a pathway that is only rarer and rarer.....

Workshops and crafts schools are in a similar position. They are opportunities for folks already on the path to becoming professionals or passionate amateurs. And they would be too expensive for most folks to spend one to four years of continuous class time…. They are a different sort of ‘finishing school’ at best.

So how do folks get inspired to make that apprenticeship commitment? One way that prospective professionals are exposed to pot making is through classes in grade school, summer camps, and community centers. And perhaps these are enough to get folks interested. I’m not discounting that. But I’d think that the transitional step from summer camp to prospective professional still requires enormous training and persistence. It requires opportunity. And the question is how folks will get this.

If the community center where I teach is like most others, then it will be rare that an academic-like training can be offered. Most folks taking classes already have their lives sorted out. Even the ones who are serious about learning almost always have full time jobs or are in school to become something else. They have the serious passion for a hobby, not a career path. And so it is extremely rare that I can teach to an academically rigorous standard. Its almost impossible to even give homework assignments…. There are no grades. And I’m not a gatekeeper….

So the question is whether a seriously trained professional potter will be the exception in the future. Will the future of pot making be mostly in the hands of willing and enthusiastic but under-trained amateurs? I worry that without the opportunity afforded in universities the overall health of our craft will be mostly up to folks who take a class or two at a community center and then sell the begeezus out of their pots on etsy…. (Not to disrespect or diminish the self directed passion of these artists. Its only that passion is not always a substitute for training and the honing of academic critique. And its perhaps rarest of all that an artist is self directed enough to do without even occasional critical feedback. We tend to think that if it sells its good enough. And is that always a standard of quality? Will this future be almost entirely market driven? And does our audience always know enough to push us towards excellence? How often is that the case? Etsy anyone?... These seem like important questions....)

But over and above the actual training that prospective potters miss out on with diminishing opportunities in academia, perhaps the worse harm is a lack of exposure. Of the countless students to walk through a university’s Ceramics department doors, how many did it take for some to stick? And of those how many to actually make a career of it? Are the odds any less than one in a thousand?

Universities are that golden opportunity that you can take a class without yet knowing your major. Its that golden opportunity to DECIDE what you are interested in…. University educations are that incredible time in one’s life when a person is figuring out what they want to do with the rest of their lives. And they can experiment with little risk that wrong turns and dead ends will be more than the waste of a semester. Its a rare time of freedom and diversity. When folks eventually graduate most are started on the paths that will define their lives. And it scares me that fewer and fewer will have an opportunity to choose pot making from this irreplaceable period of gestation.

How many of today’s potters walked into a college ceramics class by mistake? They took a wrong turn and ended up in the Art school basement? Because the painting classes were all full? On a dare? Because some cute guy was taking the class....? It almost seems that becoming a potter requires this touch of the irrelevant and accidental…. Just how do we replace THAT?

So here’s my question. Does anyone really think that apprenticeships will fully substitute for the loss of pottery opportunities in academia? Are we worried about the situation? Enough to do something about it? Or are we too disinterested to lift a finger? Are we content to get ours now and let the future generations of potters sink or swim on their own? Are we apologists for the direction that academic institutions and the gallery/museum establishment are heading? Are we defending the pathway of community classroom settings and the amateurism of many etsy sellers?

It seems there is no one right answer but that we need ALL these opportunities in play. I just fear that our future as a viable craft will be diminished if we give up on pottery being taught in academia.  Anyone else see what I’m worried about?

Wednesday, 20 February 2013

balancing act

People are always asking me about balance. How do I balance life and kids and making art. How do I still find time for the blog? How do I still find time to be an organizer of flock & gather? Some days I answer that life finds a way, and that at times I've been more productive than before kids due to limited time and a greater desire to use that time wisely. Other days....well other days are like yesturday when I poured some casts only to be so distracted that I completely forgot about them and discovered them three hours too late - rather than five minutes after they were cast which was their proper casting time. Sigh. Some days it is too much. Some days put me back rather than forward. Some days I question it all. But most days....most days it is all worth it. I'm living the dream.

Tucker's Workshop with Hannun Lyn

Tucker's Pottery Supplies, Inc.
15 West Pearce Street Unit #7
Richmond Hill, Ontario
Canada L4B 1H6

Phone: 905-889-7705
Fax: 905-889-7707

movie day: "A Dos Bandas", Aptitudes 2012

"A Dos Bandas", Aptitudes 2012 from Juan López López on Vimeo.

El 17 de septiembre de 2012, Xavier Mañosa llega a La Rambla (Córdoba) desde su taller Apparatu, en Sant Cugat del Vallès (Barcelona), con la idea de trabajar durante una semana en alguno de los talleres de alfarería tradicional rambleña. El ejercicio de intrusismo que este joven ceramista catalán emprende en la Alfarería El Yiyo, en el que un aprendiz de artesano visita a un maestro artesano en un afán de aprendizaje exprés, no es sino un diálogo entre tradición y contemporaneidad cargado de sinergias, errores, improvisaciones y hallazgos fortuitos.

Tuesday, 19 February 2013

Ceramic handles.


I'm making mugs now. Something which I'm the first to admit I'm not very good at. My mind is filled with images like the one above in the hopes I can sort out what I'm doing.

I'm also playing with a different design. Less for the kids, more for the grown ups. We'll see where it leads. Too much in the early infant steps to really have perspective on where it'll lead. Lots of baby steps around these parts lately....

Job Posting: Executive Director for North Carolina Pottery Center


Museum:  North Carolina Pottery Center

Position Available:  Executive Director

Responsibilities:  The executive director is responsible for overall management of a  museum and education center, including budgeting and fund-raising; developing and maintaining relationships with diverse constituencies; developing and managing a professional staff (1 full-time, 2 part-time); grant writing; developing an integrated programming; overseeing exhibitions creation and installation and scheduling;  overseeing collections management and acquisitions.  The executive director will be closely involved with an active Board of Directors.  Leadership is an important quality for the candidate, along with excellent management and communications skills and a proven track record as a fund-raiser.  Previous non-profit experience is desirable in a candidate.  A master’s degree in museum studies or management is preferred.

Mission:  The mission of the North Carolina Pottery Center is to promote public awareness and appreciation of the history, heritage, and ongoing traditions of pottery making in North Carolina through educational programs, public services, collection and preservation, and research and documentation.

Location:  A 9-acre site located in Seagrove, North Carolina.  The site includes a 5,700 sq ft main building that houses exhibitions, collection, offices and a gift shop; an education building for demonstrations and classes; two wood-fired kilns, two electric kilns and a large house available for storage and other programming.  Seagrove, a town in North Carolina piedmont about 35 miles south of Greensboro and 11 miles south of Asheboro, is the hub of a region with a dynamic and unbroken history of pottery production since the 18th century.  Today the more than 100 practicing potteries located within a 15-mile radius of the NCPC attract nearly 100,000 visitors each year.

Terms:  Two-year, renewable contract is being offered, salary plus benefits.

Closing date:  March 15, 2013.

Please send a letter of inquiry describing special qualifications, a resume, and references to:   Search Committee, PO Box 531, Seagrove, NC 27341-0531.

Olly Moss re-design of the Willow Pattern based on video games

via Olly Moss Blog

technical tuesday: Auto trim tape as a resist

Sunday, 17 February 2013

Adopt a Potter presented by Lisa Hammond

Adopt a Potter has a simple aim: to help in securing the future of studio potters. 
Visit our website at

Founded in 2009, the original idea for the Trust came from an experienced potter - Lisa Hammond - who has a tradition of taking apprentices at her studio in London. Some of these apprentices have become well recognised potters in their own right.

It takes years to train a studio potter. Unfortunately, many art colleges are finding it difficult to offer throwing in any meaningful way, so it is more important than ever for a student wishing to make functional and studio pots to have the opportunity of an apprenticeship with an experienced professional potter.

New Book: The Uncommon Denominator: A Tribute to Richard Hirsch

The Uncommon Denominator: A Tribute to Richard Hirsch presents a spectrum of aesthetic eloquence and technical mastery in the ceramic arts. The traveling exhibition and accompanying catalog celebrate the career of Richard Hirsch through the work of a selection of his alumni. Hirsch has achieved professional recognition both as a ceramic artist and teacher.

During his teaching career, which has spanned over thirty years, he has been a faculty member of two prominent craft programs: the Program in Artisanry at Boston University, and currently, the School for American Crafts at Rochester Institute of Technology. Many of Hirsch's former students have established their own outstanding careers in the contemporary ceramics field. Represented in The Uncommon Denominator are notable examples of the renaissance in utilitarian pottery, continued interest in the vessel aesthetic, and the investigation of both figurative and abstract sculpture.
For more on Richard Hirsch, see With Fire in hardcover and softcover
Publisher: RIT Cary Graphic Arts Press (January, 2004)
ISBN-10: 0-9759651-3-1
ISBN-13: 978-0-9759651-3-9
Binding: Laminated paperback
Pages: 56
Illustrations: 39 Full color
Size: 11 x 8 in.

Saturday, 16 February 2013

Matthew Harris & Tim Rowan exhibition at Erskine, Hall & Coe

Matthew Harris & Tim Rowan exhibition opens on Wednesday, the 20th of February and runs through the 20th of March 2013.  This exhibition aims to explore the fascinating interplay between mixed media on paper and ceramics by offering an exceptional selection of 24 new works on paper by Matthew Harris and nearly 40 ceramic sculptures by Tim Rowan.

Matthew Harris has focused his art to textiles and for the past ten years has made and exhibited drawings and works on paper.  He is based in Stroud and continues to make work that is concerned with abstract imagery and the translation of drawn marks into cloth, achieved by a process of dying, cutting and hand stitching.  Tim Rowan comes from New York and currently works in the Hudson Valley.  He produces boxes, bowls and sculptures in woodfired stoneware and native clay.

The show invites viewers to explore the relationship between the stunning work of these artists, and will be open to visitors Monday through Saturday, 10:00am - 6:00pm.  There is no admission fee to attend our show.

Monday - Friday 10am - 6pm
Saturday 10am - 6pm (during exhibitions)

15 Royal Arcade 
28 Old Bond Street 
London W1S 4SP

 tel +44 (0)20 7491 1706