Marking the Line : Ceramics and Architecture from johnloden on Vimeo.
Four leading contemporary ceramicists, Christie Brown, Carina Ciscato,
Nicholas Rena and Clare Twomey talk about their response to Sir John
Soane and his collection of Ceramics. Joanna Bird curated their work
which is seen in amongst Sir John Soane's fascinating collection in the
Museum in Lincoln's Inn Fields, London.
Wednesday, 30 December 2015
Monday, 28 December 2015
Sunday, 27 December 2015
Lisa Clague & Debra Fritts
DREAMING IN CLAY: The Human Figure, Fantasy and the Subconscious
Barro.Co Clay Studio, San Miguel de Allende, Mexico
September 3rd – 11th, 2016
The Reliquary Figure: a personal journey
San Miguel De Allende is rich with inspiration, cobblestone streets, religious imagery, architecture, and endless surfaces that show the passing of time. During this workshop we will allow our surroundings as well as our own visions to inspire us as we create the human figure. We will visit the Mask Museum in town and the Sanctuary of Atotonilco in the countryside, which will help fill us with a vast display of history, imagery and imagination. Debra and Lisa will demonstrate daily, their individual building techniques. Incorporation of metal, found objects and slip dipped fabrics will be introduced. Both instructors will discuss color and surface texture using the numerous engobes available at Barro.Co Clay Studio. Discussion will surround the human form as a spiritual vehicle to embellish with ones own vision, narrative or surreal. In addition, we will begin the day with a simple meditative exercise in clay to generate our energy, and the objects will be used as test tiles for finishes. We will combine our intuition, personal experience and the influence of the city to discover new possibilities in our work.
Lisa Clague: Lisa Clague Sculpture
Debra Fritts: http://debrafritts.net
San Miguel de Allende, a colonial treasure in the mountains of central Mexico, stands still in time with its pastel-colored houses, centuries-old churches, and cobblestone streets. A UNESCO World Heritage Site that was recently rated by Condé Nast as the best city in the world to live, San Miguel offers a favorable year-round climate, an active arts community and a laid-back environment that stimulates creativity.
You can read more about San Miguel at: http://www.visitmexico.com/en/san-miguel-de-allende
PRICE: $1695 U.S.*
EARLY BIRD DISCOUNT: If you register before February 1st 2015, you will receive a 10% discount.
TO REGISTER: A 30% deposit is required for registration.
*Price includes: 6 full days in the studio (see itinerary below) with all necessary materials, as well as daily coffee, tea and snacks, all lunches, welcome dinner, farewell dinner, all listed tours and activities.
**Not included: Flight, accommodation, optional cooking class, alcoholic beverages, optional firing and shipping of sculptures.
Wednesday, 23 December 2015
Tuesday, 22 December 2015
NCECA celebrates 50 years of clay, learning and connection in 2016. To foster a sense of community and show links to how our members connect people and ceramics, on this occasion, we have invited Michael Strand and Namita Wiggers to create Across the Table, Across the Land. Because we also set a gorgeous table in this community, food and the table serve as a link to bring it all together. NCECA feels that the table is a literal space – and an idea – and we want to hear your stories.
To do this, the curators have developed a web app to make it easy to research how NCECA connects Across the Table and Across the Land.
NCECA is calling on you to participate by sharing projects or taking on the K12 Challenge. We invite responses in the form of your images and your words. This is a collection of your stories. All materials entered into the Across the Table web app become part of this celebratory project.
Michael and Namita are developing this online archive to document what NCECA members are working on right now. From this archive, our guest curators will create an exhibition for the Charlotte Street Foundation in Kansas City, Missouri in conjunction with Makers, Mentors and Milestones, the March 2016 NCECA Conference.
Visit app.ncecaacrossthetable.com/about/ for more information about this project.
Here’s a link to download the webapp http://app.ncecaacrossthetable.com/get-started/
Want more information and background on the project?
(***this is well worth the read!)
Download the Field Guide at http://app.ncecaacrossthetable.com/field-guide/
Ready to share your story? Upload your project on the web-app here http://app.ncecaacrossthetable.com/project-submission/. Look for the + sign in the upper right corner of your screen to add your contributions.
Want to get your K-12 school and students involved? Download the student/parent permission form and Potluck: A Portrait of School Communities through Clay and Food to help guide your lesson plans and teaching.
Questions? Email Michael and Namita at firstname.lastname@example.org
Residency: January – February 2016
Artist lecture: January 19, 2016
Join us in welcoming McKnight Residency recipient Kathryn Finnerty, who will be with us in January and February, 2016. Finnerty was invited to the McKnight Residency program through a nominative process involving past resident artists and other leaders in the field of ceramics. While in residence, Finnerty will provide a free lecture about her work on Tuesday, January 19, at 6:30 pm in NCC’s Library.
Finnerty’s work draws inspiration from 19th century English pottery, particularly Victorian majolica, with classically inspired designs, raised-line relief, and sprig and sgraffito images. Her current body of work is evolving through an “abstracted landscape narrative,” and involves larger, slab-constructed vessels; her use of bright, harmonious colors is evident throughout.
Kathryn Finnerty has owned Pleasant Hill Pottery in Eugene, Oregon since 2000, where she also teaches at Lane Community College. Finnerty has recently had solo exhibitions at Schaller Gallery and Red Lodge Clay Center. She has contributed to many other exhibitions, including at Santa Fe Clay, LUX Center for the Arts, James Renwick Alliance of the Smithsonian American Art Museum, and the American Pottery Festival at NCC. Her work is carried by AKAR Gallery, Pewabic Gallery, and The Clay Studio Philadelphia, and several others. Finnerty’s exquisitely decorated surfaces have been featured in Making Marks: Discovering the Ceramic Surface (Robin Hopper, 2004) and others, including 500 Teapots (vol. 1, 2002, and vol. 2, 2013) and 500 Pitchers (2005).
We hope you will join us January 19 for this lecture, and to welcome Kathryn Finnerty to NCC! Refreshments will be provided.
This program is sponsored by the McKnight Foundation and reflects the Foundation’s interest in supporting outstanding individual ceramic artists who have proven their abilities, and are at a career stage that is beyond emerging.
Northern Clay Center
2424 Franklin Ave East
Minneapolis, MN 55406
Application Deadline: February 15, 2016
Monday, 21 December 2015
Sunday, 20 December 2015
Wednesday, 16 December 2015
Application Deadline: February 1st, 2016The Long-Term Residency (September 1 – July 31) is ideal for committed individuals in transition from post baccalaureate studies to graduate school, as well as those pursuing the development of professional artistic careers. Self-directed ceramic artists searching for the time, space and resources needed to explore new ideas and create new work will enjoy the rural mountainous setting. Accepted residents will be provided with studio space, housing, utilities, and a monthly stipend in exchange for twenty hours of work per week at the Clay Center. Responsibilities will include assisting in the retail operation of the gallery, teaching community clay classes, as well as cleaning and maintenance of the studio and gallery. Residents will be responsible for personal living expenses, as well as all material and firing expenses. The application deadline is February 1st annually.
Application Fee: $40
The Red Lodge Clay Center welcomes applications from ceramic artists who will thrive working as a team, in a community minded atmosphere.
The ceramics studio is located approximately six miles north of Red Lodge, 463 Two Mile Bridge Road. A U.S. Driver’s License is required and a form of transportation is necessary for the duration of the residency. Resident artists have 24-hour access to the ceramics studio. For more detailed information on material needs and studio equipment please contact the Red Lodge Clay Center.
51st ANNUAL NCECA CONFERENCE
Wednesday March 22 – Saturday, March 25, 2017
NCECA is committed to the exhibition and expansion of contemporary ceramic practice including diverse approaches that range from utilitarian and designed objects to sculpture, installations, site-specific works and performative events.
A member driven organization, NCECA is enriched by the innovation and vision that emerges from our community to present ceramic art of the highest caliber in the form of Concurrent Exhibitions (CEs). These exhibitions represent an important feature of NCECA’s Annual Conference experience bringing high visibility to the work of participating artists. Moreover, NCECA’s efforts to site and promote Concurrent Exhibitions expand awareness of and engagement with ceramic art for audiences that travel to and reside throughout the conference’s host region.
NCECA promotes CEs through the print conference guide, app, website, Blog and social media. While NCECA makes efforts to cluster the shows within art/ cultural districts to maximize viewer attendance, it is not able to guarantee that all exhibition venues will be included on tour routes.
2017 Exhibitions Focus
NCECA seeks exhibition proposals that have conceptual resonance with the theme of its 51st annual conference, Future Flux. The conference will take place in Portland, Oregon and NCECA specifically seeks Concurrent Exhibition proposals that resonate with our theme. As journey’s end for Lewis and Clark in the early 18th century, expedition and discovery have framed our imagination of the Pacific Northwest. As we pass beyond NCECA’s first fifty years, the interconnection of mind, materials, and transformation at the heart of ceramic process, art and education can serve as trail heads to our future. Our creative work in the 21st century increasingly engages with hybrid practices, issues of diversity, notions of community and dynamic change. How will more sustainable models of ceramic art and education continue to evolve? What are the essential competencies and capacities for ceramic artists and educators today and for the future? How can we continue to draw from rich historic traditions while reinvigorating their relevance in rapidly changing global societies? Portland, Oregon, a city of rivers, makers, and entrepreneurs is an ideal vantage point from which to investigate these questions and others. NCECA seeks Concurrent Exhibition proposals that will help transport us to the ways that ceramic art and education will continue to matter going forward.
All proposals and accompanying support materials must be submitted online by midnight Wednesday, February 3, 2016 (EDT).
Full details here: http://nceca.net/concurrent-exhibition-proposals/
Monday, 14 December 2015
Saturday, 12 December 2015
May 30 - June 24, 2016
Application Deadline February 3, 2016
OverviewIn the spirit of a community barn raising, this residency will bring together emerging and established ceramic artists to create new work and explore kiln construction, culminating in the building and firing of The Banff Centre’s first wood fire Train Kiln.
The use of wood to “fire” clay is a continuity of technology and tradition from ancient history into contemporary practice. The characteristic earthen tones, ash deposits, burnt sienna flashings, natural glaze surfaces, and spontaneous effects, are sought after in atmospheric firing processes. The Train Kiln, named after its elongated rectangular shape reminiscent of a rail car, epitomizes these effects. Soda firing techniques, surfaces, textures, and processes will also be explored.
What does the program offer?Participating artist will delve into wood kiln history, theory, principles of design, construction and firing process with the goal of understanding and maximizing the nuances of wood firing and its relationship to form and surface. Discussions and workshops addressing clay-body formulation, wheel and hand building processes, loading and firing strategies for atmospheric kilns, are also part of this residency. As well, artists will have time to explore independent projects and push their work in new creative directions through studio visits with faculty mentors and feedback from peers.
Who should apply?This residency is for emerging and experienced ceramic-based artists with an exhibition record and formal training in visual arts, or equivalent experience and recognition from their peers.
Full details and application requirements: www.banffcentre.ca/programs/kiln-raising
Thursday, 10 December 2015
The Workhouse Arts Center (WAF) is proud to announce a call for entries for its 6th Annual Workhouse Clay International Ceramics Exhibition 2016. This 6th Annual Workhouse Clay International Ceramics Exhibition is an “Open Call” for functional and/or sculptural ceramic artworks. The Workhouse Arts Center is excited to continue promoting the best of contemporary ceramic artwork being created throughout the USA and for the first time open it up to ceramic artists from Canada.
Juror- Jack Troy
Jack Troy is a potter, teacher, and writer, from Huntingdon, Pennsylvania, U.S. where he taught at Juniata College for 39 years. He has taught more than 240 workshops in the U. S., Canada, New Zealand, Australia, Great Britain, and other countries, and has worked at the Institute of Ceramic Studies, Jingdezhen, China, and has been an Invited Artist at Japan’s Shigaraki Ceramic Cultural Park. His education in ceramics has included trips to 26 countries. Having published over 90 articles in ceramics publications, he also wrote Salt Glazed Ceramics, Wood-fired Stoneware and Porcelain, and Calling the Planet Home, [poems]. His work has been exhibited widely, and is in numerous collections, public and private, including the Smithsonian Institution’s Renwick Gallery, Auckland (NZ) Museum of Art, Kalamazoo (Michigan) Institute of Art and Alfred University. He received the 2012 NCECA (National Council for Education in the Ceramic Arts) Excellence in Teaching Award, and gave the closing talk, “Anecdotal Evidence,” at the 49th NCECA conference in Providence, Rhode Island, in 2015.
Open to all ceramic artists 18 years and older residing in the U.S.A. and Canada
All works must be primarily ceramic. Mixed media works will be accepted only if ceramic materials are the primary media. The juror will make final determinations. Size is limited to artwork that fits through a standard door. Floor works must be firmly stable. Large scale installations shall be installed by artist. Wall-mounted pieces are limited to 20 lbs. per section. Work must have been produced within the last 3 years.
Please visit www.juriedartservices.com for details and to apply.
Selections will be conducted from images of works. No substitutions will be allowed. Artists may submit up to 3 entries with two images (including one detail) of each, not to exceed 6 images. Please proof read your entries carefully as this will be the information used to generate any publicity information.
Image Submission Guidelines Please be prepared to submit the following when applying online: · Name
· Year completed
· Type of clay and firing method
· Size (inches) H x W x D
· Weight (lbs.)
· Insurance Value/ Retail Price
· A brief artist statement of no more than 150 words describing your work
* Artist must be ready to upload professional quality JPG images.
* The resolution of images should be 150DPI minimum; 300DPI maximum.
* Images need to be smaller than 15MB.
All U.S. artists- $30
(Fee is non-refundable - payable thru PayPal when applying) for up to 3 entries (2 images (including one detail) per entry max.).
Entry form and application may be found online at www.juriedartservices.com
Best of Show- $500- Sponsored by AMACO/Brent
1st place-$350- Sponsored by Standard Ceramics, Inc.and Workhouse ceramics Program
2nd Place-$250-Sponsored by Workhouse Ceramics Program
2 Honorable Mentions
Detailed information and Registration form: Available online December 8, 2015
Entry Submittal deadline: May 4, 2016
Acceptance notification: after June 1, 2016
Acceptance Contracts due: by July 1, 2016
Delivery of accepted work-being shipped: Due by August 5, 2016
Delivery of accepted work-being hand-delivered: August 8, 2016 10am-5pm only!
Installation: August 8-August 12, 2016
Exhibition Dates: August 13– October 16, 2016
Opening Reception: August 13, 2016 from 6pm-8pm
Return of Shipped Artwork: Starting October 17, 2016
Pick-up of Delivered Artwork: October 17, 2016 10am-5pm only!
Artists are responsible for shipping their work to and from the Workhouse Arts Center and insuring it while in transit. Works may be shipped or hand delivered to the Workhouse Arts Center. Works must be shipped in reusable containers and packaging for re-packing and return shipping. Artist must provide a pre-paid return shipping label or check to cover return shipping costs*. Please! No Shipping Peanuts! If you must use them, please place in bags first!
Accepted work and contracts should be shipped/mailed to:
Workhouse Arts Center
Workhouse Clay International 2016
Gallery Bldg. W-16
9518 Workhouse Way
Lorton Virginia 22079
*Any check received for return shipping should be for the same amount as it costs to ship to the Workhouse Arts Center. When determining return shipping cost, artist must be sure to use same address as it was sent from.
Insurance and Sales
The Workhouse Arts Center agrees to hold safe the work(s) of art and agrees, if unsold upon completion of the consignment period, to return the work(s) of art in the same condition as received, less reasonable wear and tear. Artists are encouraged to insure artwork(s). The Workhouse Arts Center is harmless for any damage or loss whatsoever.
The Workhouse Arts Center agrees to try to sell the work(s) of art at the price listed on the online application. Prices cannot be increased or decreased unless the Workhouse Arts Center receives those instructions in writing.
The Workhouse Arts Center will conduct all sales through their sales gallery. A 40% commission on sales will be taken by the Workhouse Arts Center.
Photography and Permissions
Accepted artists agree to allow the Workhouse Arts Center to photograph work while on display for educational and publicity purposes.
Images of accepted entries will be retained for the Workhouse Arts Center archives and may be reproduced and posted on its website and in printed materials.
It is understood that works in the exhibition may be photographed, telecast, and reproduced for press and publicity purposes including but not limited to reproduction in newspapers, periodicals, magazines, in television programs and on the internet in connection with the exhibition and the Workhouse Arts Center.
An Opening Reception will occur on August 13, 2016 from 6:00 pm to 8:00 pm at the Workhouse Arts Center-Vulcan Gallery.
- Workhouse Clay International 2016 Prospectus.doc 124KB 0 downloads
The Western Colorado Center for the Arts (Grand Junction, CO) is currently accepting submissions for its Contemporary Clay 2016 exhibition. A biennial, juried exhibition, Contemporary Clay is open to artists in North and South America.
The deadline for submissions is February 1, 2016. To submit, please follow the instructions on the attached entry form.
$750 Best of Show
$450 First Place
$300 Second Place
$250 Third Place
The juror for 2016 is ceramic artist Steve Hilton. Hilton is a ceramic artist and professor at Midwestern State University in Wichita Falls, Texas. He earned his M.F.A. in Ceramics at Arizona State University. A geologist as well, Hilton finds inspiration in the way plants, animals and weather influence the Earth’s surface. He has exhibited nationally and internationally.
The invited artists for 2016 are Jamie Bardsley (Grand Junction, CO), KyoungHwa Oh (Grand Junction, CO), Kristin Schimik (Seattle, WA), and Natasha Hovey (Wichita Falls, TX).
Monday, 7 December 2015
Sunday, 6 December 2015
All handbuilt free out of single, thin spiral stripes (2mm x 5mm - different length). No templets used, only clay, my hands, water and a brush.
White stoneware, covered with colored terra sigillata and lustre in the third firing.