Thursday, 31 March 2016

call for entry: Toronto Potters 2016 Biennial Exhibition

2016 Exhibition: October 14 to November 6, 2016.
Location: Gardiner Museum Gift Shop, 111 Queen’s Park (
Now in its 19th year, the Toronto Potters Biennial Exhibition continues to be a leading event in our members’ calendars. We are again partnering with the Gardiner Museum to bring our members and the public the best of Toronto Potters’ work.

The Juried Show: will showcase and promote the best sculptural and functional ceramics produced by Toronto Potters members. Participants can submit up to 3 pieces which fall into either category: “For Use” and ‘Of Expression”. Works juried into the show will be selected based on their creative expression, originality as well as technical merits, and will be eligible to win one of multiple awards. These works will be displayed and sold in the Gardiner Museum Gift shop. Entry fee: $45.00 plus updated membership.

Jurors: Angelo diPetta, Professor Emeritus at Faculty of Design, OCADU
Jess Riva Cooper, MFA, Adjunct Professor at Department of Craft and Design, Sheridan College

The Survey Show: will coincide with an exhibition to be held at the Gardiner Museum, True Nordic: How Scandinavia Influenced Design in Canada and is open to all members of Toronto Potters. Participants are encouraged to submit 1 or 2 pieces  designed in response to the ideas and concepts of Scandinavian design which prioritizes functionality without eliminating grace and beauty – minimalist, clean simple lines, accessible.

The submissions for the Survey Show will be exhibited together in the Gardiner museum lobby at the Biennial opening, and afterwards they will be offered for sale at the Gardiner Museum Gift shop. Entry fee: updated membership.

Important Dates:
June 1, 2016: Application form, fee and membership deadline
June 11 & 12: Jury and Photo Documentation process
October 7 to 9: Delivery of selected work to Gardiner Museum
October 14: Grand opening for Exhibition
Complete details and entry forms: Visit our website
Sponsored by:

Wednesday, 30 March 2016

Ceramic Studio Practice and Arts Publishing Internship

Tandem Ceramics and Studio Potter are combining forces to offer a dual internship in two different yet congruent parts of the ceramics field: arts publishing and studio practice.

The internship will be split into two sections: one half of the internship will be working with Studio Potter editor, Elenor Wilson, assisting in publication production, archive development, marketing and social media management, and membership building; the second half will be working as a studio assistant under Justine Barrett Figura of Tandem Ceramics, assisting in ceramic production, market research, studio maintenance, and social media development.

The ideal candidate is a student (undergrad or grad) or emerging artist with an interest in any of the following: writing, editing, pottery, ceramics, art history, studio management, pottery production, slip casting, plaster mold making, documentation/marketing of work. Experience in plaster mold making and slip casting highly preferred but not required.

Want to help support this opportunity? Learn how.

Dates + Duration: Summer or Fall, 6 - 12 weeks
Pay Type: Paid
Weekly Commitment: 8-12 hours/week part-time
Application Due Date: May 1st / Rolling
HOW TO APPLY: Send your CV or resume with cover letter to

TONS of upcoming opportunities @ MEDALTA for international artists at all stages of their careers.

I can't lie, I'm a huge fan of Medalta. It's a home away from home and if they would just let me stay indefinitely with my family I would be there tomorrow and move in permanently. But you, yes YOU, have the chance to go and be a part of this world class facility and international artist residency program. You just have to apply.

So what exactly are you waiting for?
No really...get your applications in!

movie day: Engobe ceramic decoration

Tuesday, 29 March 2016

Join Ben Carter, Jill Foote-Hutton, Magda Gluszek and Myself in Florida this APRIL!!!

Gulf Coast State College will host its Second Annual Ceramics Symposium. The theme this year is “Word and Object”. The symposium will be held in Panama City, Florida, from April 15-17, 2016 in the Amelia Tapper Center in the Department of Visual And Performing Arts. This is a great opportunity for attendees to learn from a diverse group of professional artists. The artist/presenters include Ben Carter, Carole Epp, Magda Gluszek, and Jill Foote-Hutton.

Together they will share the ways story impacts and informs their creative process, studio output, and their efforts to capture the contemporary story of American Ceramics. During the Artist Demonstrations the audience will see a variety of construction methods while panelist will cover topics including: narrative as a leaping off point for form and decoration, the power of the frozen moment in sculpture, the vessel as a format for stories in the round, and development of character iconography.

The symposium will consist of interactive workshops, lectures, panel topic discussions, demonstrations and the exhibition, “Raconteurs”, on display from March 7 through the end of the symposium.

Find full details and schedule here:
Don't delay grab your spot today!!!

See you there ~ xoxx Carole 

Sunday, 27 March 2016

emerging artist: Kellsey Ronaghan

To-kĕn Digital Gallery - get involved - two open calls.

To-kĕn Digital Gallery is the launching of a nascent idea, an extension of the Graduate Certificate Program of the New Brunswick College of Craft and Design, Fredericton, N.B. Coming out of many discussions with the participants in the program, around careers, studio practice, community responsibility, and much more, a desire to converse with others in Canada came about.

This is the first annual To-kĕn Series: Digital Gallery Review of emerging and established artists visual-work. In this inaugural launch there are two curated surveys in the form of two “Open calls”.

Call #1
Social Conscience
 “In this survey I would like to see what objects
with a social conscience other emerging ceramic artists are creating.” (Martin Jarman)
Social Conscience; open to emerging clay artists throughout Canada.

Call #2
The Human Condition
 “I am looking for work by artists who are using either figurative, or non-figurative ceramics as a form of self-exploration.”(Jennifer -Lynn McInnis-Wharton)
The Human Condition; open to emerging and established clay artists throughout Canada

These two-curated Calls to Show will produce two shows that will be shown and promoted digitally across Canada. Significant work will be recognized and the opportunity for artist statements and links to websites will be provided. At the heart of this is the desire for the participants of the Graduate Certificate Program to reach out and learn what else is going on in Canada on certain topics of their interest. It is also an opportunity for the practice and development of both skills in curating and in writing on work being made today. Your participation is appreciated.

Call to show mid March
Deadline for submissions April 8th
Curatorial paper written by late April
Survey release/promoted by end April/early May

Submission Guidelines
Selections will be conducted from images of work, do not send original work.
Each work must be identified (use title on slide only if accompanying with a image list)
Year completed
Type of clay and firing method 
Size H x W x D 

A brief artist statement of no more than 150 words describing your work and practice.
Artist must send professional quality JPG images for the purpose of further dissemination.
Submit Microsoft Windows compatible files only.
Submit jpg files only.
Submit files at a resolution no larger than 150 dpi.
Submit files of a maximum of 1024 x 768 pixels (height must not exceed 768 pixels).
Submit files of 5MB maximum.
Links to websites and FB Pages are encourage as we intend to substantially promote your work.
Acknowledgement of release of photos (see below)

Photography and Permissions
Accepted artists agree to allow the To-kĕn Digital Gallery to use the accepted entry images for educational and publicity purposes. Images of accepted entries will be retained for the To-kĕn Digital Gallery archives and may be reproduced and posted on its website and in printed materials.

It is understood that works in the exhibition may be used for 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 To-kĕn Digital Gallery. All efforts will be made to provide information on the maker (photographer where necessary) and the artist’s preferred social media/website.

Graduate Certificate Program is a course of study, which offers participants a framework to refine their studio practice skills, develops the entrepreneurial knowledge to integrate their work into our society and culture and to ground this with deep self-awareness. See more at


Friday, July 15 – Sunday, July 24, 2016
$1000 (CAD) + 5% GST
Registration Deadline: June 17th 2016
Enrollment limited to 12 participants
Register Now
Instructor: Robin Dupont
Join Robin Dupont as he guides you through all aspects of making pots for the wood, salt, and soda kilns in this 10-day workshop. Participants will bring a few bisque pieces from home to glaze and load at the beginning of the workshop and then dive headlong into making pots that will be fired throughout the workshop.  There will be a total of three atmospheric firings allowing participants to explore new creative pathways.
Fee includes:
  • 24 hour studio access
  • Full access to the entire Historic Clay District site
  • All firings included
  • Glaze materials in test quantities
  • Use of shop glazes
Artist responsible for:
  • Materials and clay
  • Accommodations: If you would like assistance in finding accommodations, contact
Monday, August 8 – Friday, August 12, 2016
$700(CAD) + 5% GST
Registration Deadline: July 8, 2016
Enrollment limited to 12 participants
Register Now
Instructor: Clint Neufeld
Clint Neufeld will guide you through all aspects of mold making and slip casting in this 5-day workshop. Participants will have the unique opportunity to join Clint in creating a multi-piece mold of a piece of machinery from Medalta’s boneyard.
Fee includes:
  • 24 hour Medalta studio access
  • Full access to the entire Historic Clay District site
  • All support materials
Artist responsible for:
  • Accommodations: If you would like assistance in finding accommodations, contact

Saturday, 26 March 2016

Carole Epp Workshop: Narrative & Controversy 7 May 2016

That's right folks, you read it right...I'm heading back to my home away from home Australia this May. I can barely wait to visit old friends, make new ones, see and experience the amazing Australian Ceramics scene again! Join me for a one day workshop in Sydney!

Narrative & Controversy

A one-day workshop 
with Carole Epp
Saturday 7 May 2016, 10am – 4pm
Square 1 Studios

32 Bowden St Alexandria NSW 2015
Cost: $85 per person ($75 TACA members)

Carole is a Canadian ceramic artist living and working in Saskatoon, Saskatchewan. She received her Masters Degree in Ceramics from the Australian National University in 2005 and has maintained a full time studio practice since. Her ceramics branch off into two distinct bodies of work – sculptural and functional.

Outline: Come and join Carole for a raucous day of story telling about her ceramics. She’ll divulge her handbuilding and throwing secrets and discuss her glazed surface treatments. Demonstrations about how she brings narrative into functional and sculptural work – from politics and social commentary, to humour and whimsy – will be discussed. Participants will learn how to combine narrative concerns alongside design and aesthetic concerns in their work. There will be lots of demos and also some chat about social media. 
You may already know Carole from her famous blog:

This is not a hands-on workshop.
Seminar Fee: $85 per person ($75 TACA members)
This fee covers the tutors and morning and afternoon tea.
Please note: Full payment is required to ensure a place.
Minimum number in the workshop: 8
Maximum number in the workshop: 15
Participants need to bring a notepad and pen, lunch and a mug for coffee and tea. The workshop fee covers morning tea and afternoon tea.
Parking: Enter via Harvey Norman car park at the dead-end of McCauley St. Drive in and find a park. Walk along keeping the canal on your left and look for the red square on the outside of the warehouse. That’s the entrance to Square 1 Studios. Come upstairs to Level 1.
Please arrive by 9.45am as we will start promptly at 10am.
Payment for the seminar:
  • Cheque (made out to The Australian Ceramics Association) & post to PO Box 677 Alexandria NSW 1435
  • Direct deposit (Account name: The Australian Ceramics Association; BSB 032000; account no. 911118). PLEASE IDENTIFY YOUR DEPOSIT WITH YOUR SURNAME, then please send an email to giving details of your payment.
  • Credit card (Visa, MasterCard) – phone / mail / fax
  • Go to our online shop and purchase this workshop.
  • Payment is required to ensure a place in the workshop.
  • Payment is refunded in full if TACA cancels the workshop.
  • 90% of your payment is refunded if you cancel up to 2 weeks before the workshop date.
  • PLEASE NOTE: There is no refund if you cancel within 2 weeks of the workshop, unless we can fill your place from a waiting list and then 90% of your payment is refunded.
BOOK ONLINE HERE, or contact TACA to book and pay over the phone.
The Australian Ceramics Association
PO Box 677 Alexandria NSW 2015
T: 1300 720 124 | F: 02 8072 1804

Friday, 25 March 2016

residency opportunity @ Tyler Deadline April 1st

The resident artist serves an important role as a mentor to both the undergraduate and graduate programs, and compliments two full time faculty, a full time ceramics technician, adjunct faulty, and 4-6 MFA students. The resident artist is provided with a 150 square foot studio space, materials, and kiln access and will be paid to teach 1-2 courses each semester as an adjunct instructor. The ceramics studio is a spacious, state-of-the-art facility and includes a full compliment of ceramics tools and equipment. In addition, the program has a CNC mill for creating plaster molds, a ceramic decal printer, vinyl cutter and access to a laser cutter, 3d printer, 3d scanner, and a digital embroidery machine. Additionally, Tyler is located in North Philadelphia, less than a mile from Center City, home to numerous cultural attractions including The Clay Studio, The Philadelphia Art Alliance, Philadelphia Museum of Art, Fleisher Art Memorial, the Institute of Contemporary Art, and The Pew Foundation, among many others.

The ideal candidate will have a MFA, either in ceramics or with significant experience in ceramics, a strong studio practice, and excellent studio work (open to all types of work – functional, figurative, sculptural, performance, installation, design, etc.). Previous university teaching experience is preferred but not required, and recent graduates are encouraged to apply.
For questions or inquiries, please contact Chad Curtis.

Temple University
Tyler School of Art

2001 North 13th Street
Philadelphia, PA 19122

call for entry: KC Clay Guild Teabowl National

May 6, 2016 entry deadline
Missouri, Kansas City "KC Clay Guild Teabowl National" (August 26-September 16) US Residents at least 18 years of age.  Artists are allowed 3 teabowl entries. Traditional and non-traditional teabowls, no more than 9 inches in any direction.  
Fee: $30. 
Juror: Jack Troy. 

Thursday, 24 March 2016

job posting: Langara College Studio Technician (Fine Arts)

Permanent Full-Time
Start Date: April 1, 2016
Under general supervision, the Studio Technician provides studio operational, program, and administrative support to the Fine Arts Department. As a Technician, this position is responsible for preparing and resourcing the studios which may include but not limited to: ordering supplies, making supplies, stocking the studios, booking models, or monitoring studio access and the use of certain equipment. Additionally, this position provides program and administrative support such as program promotion, student liaison, interdepartmental liaison, and other related administrative activities that support the smooth operation of department programs. The Technician supports multiple instructors in various Fine Arts specialization (e.g. ceramics, drawing, printmaking, etc.) and provides supervision to SWAPs and student aides. Performs other related duties and or projects as assigned.
Education & Experience
  • Two year diploma in Fine Arts or equivalent, with a major in ceramics, printmaking or similar specialization.
  • Two years of directly related studio experience, including but not exclusive to, ceramics, printmaking, drawing, design, sculpture, or painting.
  • An equivalent combination of education and experience may be considered.
  • Practical working experience with a broad range of equipment, materials, and techniques related to contemporary ceramics and printmaking.
  • Administrative experience.
  • Previous supervisory experience an asset.
  • Knowledge of WHMIS and MSDS safety standards that are essential in handling dangerous goods: lacquer thinner, solvents, clay and glaze chemicals, etc.
  • Experience with the use of social media and networking to promote program, liaise with alumni, and raise the profile of the program.
Skills & Abilities
  • Ability to communicate effectively both verbally and in writing.
  • Ability to establish and maintain effective working relationships: with superiors, faculty, staff, students and members of the public.
  • Ability to work independently and as a member of a team.
  • Ability to organize and prioritize work.
  • Ability to instruct and demonstrate the use of different equipment to the students.
  • Ability to effectively supervise, direct and lead others. 
  • Ability to meet work performance standards set by the college.
  • Ability to understand, interpret and apply department rules, policies and technical materials.
  • Ability to exercise a high level of initiative and responsibility. 
  • Ability to use the computer and relevant office programs such as MS Office and an integrated student program (e.g. Banner).
Working Conditions:
  • Physical ability to perform the duties of the position such as lifting weights up to 25kg, loading kilns, and standing or sitting for a prolonged period of time.
  • Exposure to toxic materials such as solvents or particulates
  • Exposure to conditions of noise, heat, fumes and noxious odours.
Salary Range: $1,832.36 - $2,083.99 Bi-Weekly (Pay Grade 24)
Employee Group: CUPE
Hours & Days of Work: 8:30am - 4:30pm. Monday to Friday, however, hours may vary according to the needs of the department. This position is not subject to the compressed workweek schedule.
Application Information: To apply, please submit your resume and cover letter no later than 4:30pm of the closing date. For a copy of the position description please click here.
Closing Date: March 29, 2016
Competition No.: C013-16
We thank you for your interest and advise that only those shortlisted will be contacted. Langara is committed to enhancing our diverse workforce.

call for entry: The Clay Studio National

2016 marks the second iteration of The Clay Studio National, a biannual exhibition showcasing the best contemporary ceramic art being made in the United States now. Through this juried exhibition we will highlight a diverse range of work, from functional to sculptural, and from traditional production techniques to cutting edge manufacturing technology.

The jury will consist of Clay Studio Curator of Artistic Programs, Jennifer Zwilling, and two guest jurors. The Clay Studio National will be on display in our Harrison and Reed+Smith Galleries from May 6 to June 19, 2016.

Applications are due no later than April 1, 2016. Artists will be informed of the jury's decisions on April 6, 2016. Artwork selected for the exhibition must arrive at The Clay Studio no later than April 25, 2016.

All artwork must be for sale, The Clay Studio retains a 50% commission on all sales. Costs of shipping to The Clay Studio are the responsibility of the artist, return shipping to the origin of the work will be covered by The Clay Studio.

Enter online here. 

call for entry: Medalta's Annual International Exhibition

It’s that time of year again, our fourth annual call for entry for the Medalta International Exhibition.  We are still switching up the theme each year to keep things fresh… it started with cups… then spoons … an ode to tools and now… CHEERS! 
As we launch our call for entry on St Patricks’ Day at NCECA, the national council for ceramic arts 50th anniversary celebration we thought the theme of CHEERS was in order.   So, show us your celebratory drinking vessels.. cheers @medalta with the perfect tumbler, whiskey set, coffee mug, teacup, stein, tea bowl, growler, bottle, or flask.  If your vessel is part of a celebration, whether it’s a perfect cup of coffee or a pint at the end of the day, we want to see what you’re celebrating with.
Successful applicants will be a part of this celebration of contemporary drinking vessels from around the globe in CHEERS @Medalta on display in our Yuill Galley from September 1st –November 30th  2016.

So who’s our new Juror?! Well we are excited to have a member of our extended Medalta family, Medalta Artist in Residence Alum & Canadian Ceramic star Robin Dupont in as juror. Robin has traveled the globe refining his practise & testing out a few drinking vessels along the way in his research into functional atmospheric fired ceramics.
“ Cheers!  It is said that the earliest origins of ‘cheers’ comes from the clanking of glasses to slosh or mix beverages to prevent your companion from poisoning you. I prefer to think of the action in the more contemporary custom of acknowledging an event, a friendship, a bounty, a ritual of celebration.
The concept of celebration is at the core of handmade pots. Making and using handmade pots is about slowing down and celebrating the object, the ritual, the people, the food and drink.
I am excited to have been asked this year to jury the 4th annual Medalta’s International Exhibition CHEERS!  This theme is integral to our daily lives, in how drinking vessels can elevate a ritual, stimulate a conversation or thought and function purely to nourish our souls and selves.
So show us your celebratory vessels. “
Robin DuPont
We thank Robin for stepping up to the challenge & look forward to working with him; he’ll have the difficult task of narrowing down the entries and selecting the prize winners. You can see more of Robin’s work at or on
Speaking of Prizes! The GRAND PRIZE is a month long residency at Medalta with accommodation! We can’t wait to see what last year’s winner of TOOL, Valerie Zimany, creates in Medalta’s studios during her July 2016 residency. Purchase prizes will be awarded for Medalta’s contemporary collection. Student entries are eligible for Ceramic: Technical and Ceramic: Art & Perception digital subscription. And we’re wrangling more prizes as we speak!  Awards will be announced at the opening reception & on Medalta’s Instagram. Artists do not need to be present to win.

Good luck to everyone who enters and thank you for your support! We can’t wait to see your submissions.
Jenna Stanton
Curator of Exhibitions & Collections

Enter Now!

Submissions to be completed online from March 17th to June 10th 2016. At
Entry Fee: $20 Canadian.  (for those of you in the US that’s about $15 USD)
Online Submissions include up to 5 images of your finished work (Images: 1MB each) Along with title, description, dimensions, and a retail price in Canadian $.
  • Sets are eligible. A set must be photographed together in one photograph and would count as 1 of your 5 entries. Sets are to be priced and sold as a complete set; we will not offer individual pieces from a set to be sold separately.
  • Front and back views are not required, but if you feel it’s necessary to properly convey your work using a front and back view then using a side by side shot as one of the entries/uploads is recommended.
  • Artwork in the photos submitted must be available for the exhibition. No substitutions. Medalta reserves the right to reject any work that that differs from the original submission.
  • All work must be created in the past 2 years, and be for sale. Submit retail prices in Canadian Dollars. Artists receive 60% commission on artwork sold and will be paid via paypal email transfer after the closing of the exhibition.
  • All work must be properly prepared for exhibition, be durable enough to survive shipping and display, and come with assemblage instructions/specialized hardware if applicable.
  • All selected artwork must arrive at Medalta no later than July 20th. Artists are responsible for all shipping and insurance costs to deliver the artwork to Medalta. Medalta will cover return shipping & insurance for unsold artwork. All unsold work will be shipped back to artists in January 2017. Work exceeding 18” or 10lbs in weight may not be eligible for free return shipping.
  • Medalta reserves the right to use photographs, write ups, and images and of accepted work for online and print publications and/ promotion.
Any questions regarding this exhibition can be directed to Medalta’s Curator
Jenna Stanton
Curator of Exhibitions & Collections

Wednesday, 23 March 2016

call for entry: Domestic Design - NEW DEADLINE - April 1st.

nceca wrap up...

--> hmmmm, you know I always come home from NCECA with a million thoughts in my head. So many good stories and experiences to retell, and then in the burn out of post-nceca it's almost like I just can't find the words to adequately share the experience. I know, it's cliché "you had to be there" bullshit, but the variety of experiences and their impact really are that hard to make tangible in words.
It seems to belittle the sense of inclusivity of community to simply say that I've never been hugged so much in a 5-day span before in my life. The hugs, well they are fantastic, but what they signify was so much more. We are a community of generous and inspired souls. I get all emotional about it I know. And that shouldn't cloud the importance of the work we are accomplishing as a community of makers whose impact far extends beyond the borders of NCECA or our clay studios, but rather echoes out into the greater community provoking change of thought, values and action in the world.

I come home from NCECA feeling full. I'm inspired not only to make art, but to continue the path of living and working as an artist. I feel validated in this profession in a way that I don't normally on a day to day basis. I feel that there is a movement afoot, a united voice that validates the late night kiln firings, the self deprecating moments of uncertainty, the passion that fuels each return to the challenges of our work.

This year was my fourth NCECA and I got to also experience it through the eyes of a few artists who had never been before. Not only was this fun to see them wide eyed and open minded about the event, but it also brought outside perspective and critique to our community which is also a necessary beast. NCECA can easily be the happy glow of a reunion with friends much like the best high school reunion ever. But there is also space and necessity for these get togethers to be about growth, critical feedback, addressing challenges in the field and working pro-actively towards the greater good.

One of my most memorable moments of this NCECA conference and one which truly set the stage for my outlook over the subsequent days of the conference was the Keynote presentation by Liz Lerman. I can't summarize the whole of her talk here (hopefully it will be posted on You Tube in the near future), but it wasn't even the talk so much as how she workshopped with a room full of thousands of people and got them talking critically about each others work. We all desire pats on the back about our work and accomplishments but what we truly need is a better critical awareness of what it is we are doing.

I personally was literally moved to tears, which I hid, during this activity. Not to worry, they were good tears. Great tears. I had craved a critique of my work for so long. I had just a few days prior to leaving for Kansas City finished a bunch of work for a solo exhibition. It was raw and fresh in my mind and I was feeling as I often do after finishing work; vulnerable. It's been a long time since I've had a solo exhibition and had to produce as much work as this and this body of work delved particularly deep into issues of the artist as mother, creative growth and death, parenting in modern culture, and systems of oppression and politics. I felt the work was still unresolved (still do) and that it had failed me in that my ideas had gotten a bit lost in the process.

I was paired up with a new friend for this activity. I'd known him before, but not overly well and had no idea what he would see in the work or how he would approach this critique. I did know that he was very perceptive, knowledgeable and confident in his opinions so I braced myself. How Liz walked the entire room of artists through a critique process; her four step plan that brought out positive encouragement, critical analysis, trust building and space to challenge one another, was unlike any thing I had experienced before. And full disclosure I'm a huge fan of critiques from both sides of the experience. I doubt I'll every approach anyone's work or my own for that matter in the same way again.

Walking through exhibitions one after another over the five days was not just overwhelming, but after that Keynote it was also an experience of heightened awareness and critical searching. I approached works I had wanted to experience in person with less of the "fan girl, wow it's go great to see these in person" approach and rather was pulled into an approach of appreciation, investigation and critique. Liz Lerman's talk resonated with me in each piece I viewed, fell in love with, passed over, or was challenged by.

I ran into a few people who asked if I would be doing a "top ten" list of sorts for musing about mud; or if I would review of some of the best pieces of the conference. I know that these types of lists are popular, but I really can't wrap my head around doing one as even beginning to chose how to quantify the categories by which I would narrow down what to talk about make me feel overly biased, un-inclusive and short sighted. But I do want to make mention of one piece. You'll think that I'm a crier (moved to tears during the keynote, crying about a piece of sculpture) but I’m not normally that emotional over art. Akio Takamori's piece at the Belger Crane exhibition however was a piece that stopped me dead in my tracks. I had tears forming and my throat started to close. It's not an overly obvious piece perhaps. But time, place and where I was within the framework of my own artwork I had just finished made this piece speak to me on levels emotionally and intellectually that I hadn't expected and I was taken off guard. I think I've had maybe three or four other experiences in my life when encountering art that were equally as powerful.

My research and work in the last year leading up to my solo show have been looking at the role, respect and place for parents within the art world frame work. I speak from the female point of view because it is my place and my story on the line. I work to expose my challenges as an artist and parent, analyzing how to make relevant work that speaks to a larger audience, balance life and work, and present all of the mess of that life and work in my art. I joked at one point at NCECA with a friend that my art was basically about diapers and death. In some ways that's a very shallow way to see it, and yet on the other hand it encompasses so much...

This piece shown above by Akio Takamori coalesced a lot of the emotional content I had been searching to portray in my own work. Life is moments, joyful and not, contemplative and full of promise equally balanced with challenges. This portrait of a father (I assume) carrying his child shows so much humanity in their expressions. The narrative of this work to me is about carrying our burdens to the point when which they are no longer burdens but melt into our lives and simply are our lives in all the layers of richness that burdens and challenges have to offer us in our growth towards becoming better people.

Anyway, it was one of the many NCECA moments I can't quite put into adequate words but that I can still feel in my heart and in my gut. Art that sucker punches you when you least expect it. Art that changes you slightly from here on out.

There is so much more to say about NCECA, about what I saw, the conversations and connections that took place, but for now I'm still digesting it all...and making my plans for NCECA 2017 in Portland.


call for entry: Coffee & Clay

Pottery Northwest will present Coffee and Clay: an exhibition of coffee cups and coffee-related ceramic ware. In this show, we honor Seattle’s coffee culture and the cosmic connection between Coffee & Clay. Please submit your best work according to the specifications listed.  

Deadline is April 4th! 
In celebration of craft, Pottery Northwest will partner with local coffee roasters who will perform brew demo’s and allow guests to drink specialty coffee out the cups they purchase from this show. This exhibition will feature a first time Sunday Brunch Reception on June 5th. Our Brunch event will also include… WAFFLES!!!

Juried by Noah Riedel & Carolyn Reddy

Tuesday, 22 March 2016

Harvard Ceramics looking for a new Artist-in-Residence

About the Artist in Residence Program

Application Deadline: April 15, 2016
Notification of Residency: May 9, 2016
Residency Dates: September 1, 2016 - August 31, 2017
The Artist in Residence Program through the Ceramics Program, Office for the Arts at Harvard, offers dedicated artists the opportunity to involve themselves in research and growth, pushing their art in new directions in a dynamic, urban studio connected to the Harvard community. Individuals will have the opportunity to build relevant skills in research, professional development, technical ability, creative problem solving, teaching and community involvement through our Artist in Residence Program.

The Artist in Residence Program offers 

  • Personal studio space (60 sq. ft.) in addition to use of common studio space
  • 7 day studio access
  • Free access to materials - clay, glaze and use of kilns (electric, saggar, wood fire, soda and gas) up to excess
  • Opportunities to take classes and firing workshops within the program
  • Paid teaching opportunities within the program
  • Solo exhibition in Gallery 224 of work completed during residency
  • Attend visiting artist workshops and symposium offered within the program
  • Exhibition/sales opportunities in two annual Show and Sales
  • Access to studio equipment including slab roller, extruder, spray booth, plaster mold-making room and glaze mixing area
  • Access to studio lighting and background material for documenting work
  • Website visibility
  • Access to Harvard University Library and Museums with provided ID.

Expectations of Artist in Residence 

  • One year commitment
  • Must spend 20 hours/week of time dedicated to personal work
  • Must spend 5 hours/week dedicated to work within the program
  • One public workshop presentation
  • Provide presentations to classes
  • Participation in program events and special projects with the Harvard Community 
  • Artist is asked to leave one work for the permanent collection
  • Responsible for own housing 

Application Process

Application can be submitted via hardcopy or provide us with a link to an on-line, downloadable, file-storage site (i.e. Dropbox):
  • Resume with personal contact information
  • Artist statement
  • Personal statement that reflects your reason for applying to the residency program
  • 10 digital images, plus one optional detail per image. Files in jpeg format at 300 dpi, with images' longest dimensions exactly 7 inches/2100 pixels. Each image should be labeled with the following format:
    image number_first initial_last name (example: 1_j_smith.jpg, 2_j_smith.jpg, etc.). Images will be used for promotional purposes upon acceptance to the program.
  • Corresponding image list. List should address each image by number in terms of: title, year, size of work, medium/techniques used.
  • Work should be current and completed within the last 2 years
  • List of 3 references - please provide, name, title, mailing and email address and telephone.
  • No discs will be returned if sending hardcopy
  • Notification will be made via email
Send invitation to online, downloadable file storage site:
Kathy King, Director of Education, at
If sending hardcopy, mail to the following address:
Ceramics Program, Office for the Arts at Harvard
Attn: Artist in Residence Program
224 Western Avenue
Allston, MA 02134

Important Dates

April 15, 2016 - Application materials must be submitted
April 25 – April 29, 2016 - Finalists will be notified to arrange a phone/Skype interview with Co-Directors Kathy King, Director of Education and Shawn Panepinto, Director of Operations. 
May 9, 2016 - Notification will be made via email.
May 30, 2016 - Selected artist must accept or decline the residency.
All interested individuals are welcome to visit the Ceramics Program prior to application and or acceptance. To arrange a visit and receive more information, contact Kathy King, Director of Education at kking@fas or Shawn Panepinto, Director of Studio Operations and Outreach at panepint@fas or call 617-495-8680.

call for entry: Southern MISS Ceramics National

The University of Southern Mississippi Museum of Art is pleased to announce the Southern Miss Ceramics National, a juried exhibition of ceramic sculpture and sculptural vessel forms created by artists from across the United States.  
AWARDS:.............................First Prize: $500.....Second Prize: $300.....Third Prize: $200
ENTRY FEE:.........................$35 for up to three entries (two images per entry)
DEADLINE FOR ENTRY:......June 4, 2016
ELIGIBILITY:  The Southern Miss Ceramics National is open to all US residents 18 years of age or older.  Entries must have been completed within 3 years of the entry deadline.  Ceramic sculptures, sculptural installations, and sculptural vessel forms are eligible.  Mixed media works are eligible only if ceramic/clay is the primary medium.  Individual components of ceiling suspended or wall mounted works should not exceed 20 pounds.  Freestanding and pedestal displayed works must be stable.  Installation of large-scale works, or works requiring specialized installation or assembly, may be required by the artist.  Size (including crating) is limited to works that will fit through a standard door, 32 x 80 inches. All entries must be original works and available for the duration of the exhibit.  Accepted works cannot be substituted.
JUROR:  BRIAN HARPER – Brian Harper is an Associate Professor of Fine Art and Ceramics Area Coordinator at Indiana University Southeast.  He received a BFA from Northern Arizona University, and an MFA from the University of Iowa.  His artwork investigates our inherent human wonderment of the unknown and the methods, mythological or otherwise, for how we give structure to unknown elements of our observed, unobserved, and unobservable world.  His work has been exhibited in over 80 national and international exhibitions, including 7 solo exhibitions.
In addition to his studio practice, Brian is Founder and Executive Director of, a growing online network of over 350 contemporary artists.  Widely used as a resource by the general public, academia, and professional artists, provides the opportunity to view a wide array of work relevant to the critical discourse in contemporary ceramic art.  More information about his work can be found on his website at
INVITED ARTIST:  KENNETH BASKIN – Kenneth Baskin is an Associate Professor of Ceramics at McNeese State University in Lake Charles, LA.  He earned a BFA from the College of Creative Studies in Detroit, and an MFA from the University of South Carolina.  Baskin has presented workshops and lectures, and exhibited his ceramic sculptures nationally and internationally.  Some honors include the 2007 NCECA Emerging Artist Award, a solo exhibition of his work at the Taipei County Yingge Ceramics Museum, Taipei, Taiwan, participation as a visiting artist, workshop instructor and lecturer at the Tainan National University of the Arts in Tainan, Taiwan, and at the National Taiwan University of the Arts in Taipei.  Baskin’s work has been included in numerous books and journals.  More information about his work can be found at
Entry Deadline:..............................................June 4, 2016
Notification of Acceptance:...........................after July 9, 2016
Receipt of Works:..........................................August 22 – September 9, 2016
Installation of exhibit:...................................September 15-30, 2016
Show Opens:.................................................October 4
Invited Artist Demonstration:........................October 10 (time TBA)
Juror’s Lecture:.............................................October 11, 6 p.m.
Awards and Gallery Reception:......................October 11, 7 p.m.
Return Shipping or Pick-up of Works:............November 7-11, 2016
SHIPPING AND DELIVERY:  Artists are responsible for all shipping and delivery costs.  Works should arrive no later than September 9, 2016. Detailed shipping instructions will be sent to all participants.
INSURANCE:  The University of Southern Mississippi Museum of Art will provide insurance coverage for all artwork while on the USM campus and gallery premises.  Insurance for artworks while in transit to and from USM is the responsibility of the artist.  USM is not liable for any damage or loss occurring during transit.
SALES:  Works can be available for purchase or listed as NFS (Not for Sale). Commission will not be taken on any sales.
GUIDELINES FOR ENTRY:  Entries will be accepted online.  ENTRY LINK COMING SOON!
Artists may submit up to three entries. All entries will require the following:  name, title, medium (type of clay and firing method), 1-2 digital images of each work submitted (72 dpi, no more than 5 MB for each image and no smaller than 1920 pixels on the longest side), size (inches) H x W x D, approximate weight of each piece, insurance value and retail price, a brief artist statement of 300 words or less about work submitted.
USE OF IMAGEREY:  The University of Southern Mississippi reserves the right to use images of selected artwork for marketing and publicity purposes without compensation.  High-resolution images will be requested for all accepted entries.
MORE INFORMATION:  For more info, please contact museum director, Mark Rigsby,, (601) 266-5200.
The University of Southern Mississippi Museum of Art was established in 1997 by the Mississippi Institute of Higher Learning Board of Trustees as an expansion of the C.W. Wood Gallery founded in 1977.  Recently completed in 2014, the Gallery of Art and Design, a 2000 sq.ft. contemporary art gallery, is now the primary exhibition space for all USM Museum of Art and Department of Art and Design exhibitions and events.

Monday, 21 March 2016

monday morning eye candy: Zak Helenske - Guest Post by Ceramic Artists Now

Zak Helenske puts to use similar languages to create a thread across different bodies of work. He makes functional pots, installations, and cast iron sculptures. At first glance, these various works and different media may not seem related to one another. However, his different works carry corresponding elements that quietly remind the viewer of his thread of inspirations including architecture, industrial aesthetics, and pattern.

Helenske describes part of his inspiration saying, "I am charmed by the anti-monumental, and challenged by the spatial balance between pottery, architecture, and community."

Within his pottery, Helenske uses simple, varied cylindrical forms and lightly treated surfaces with remnants of pattern and other line work. The decoration references structures and are reminiscent of blueprints or bridge support cables. By using an atmospheric soda firing method, Helenske sacrifices some control over the outcome of his pottery. This process, though, ties his work together as the soda acts to the porcelain like nature and elements do to architecture.

Helenske speaks of the importance of pottery, “Pots are a part of our domestic infrastructure, facilitating rituals of beauty, nourishment, and gathering.”


Helenske received his BFA from North Dakota State University and his MFA from Rochester Institute of Technology, School for American Crafts with a concentration in ceramics and ceramic sculpture. He has been an artist in residence in foundries, casting workshops, and ceramics studios, including Pottery Northwest in Seattle, Washington where he now lives and works.

Thanks again to our great Guest writers from Ceramics Artists Now. Make sure to check out their website for more amazing ceramic based artwork.

Monday, 14 March 2016

monday morning eye candy: Candice Methe - GUEST POST by Ceramic Artists Now


Candice Methe strives to highlight the tie between beauty and utility that creates a deep emotional bond with the everyday user. She infuses the work with her touch combined with the spontaneous phenomena of clay, giving each piece the allure of a grand history hidden by ceramic process. The surface of each piece blurs any sense of time, leaving the user wondering if they are drinking from an age-old cup fit for ancient royalty or one made recently by the friendly potter down the road. Methe works in a variety of ways, creating pottery for daily use, large pinched vessels, and room-size installations.

Methe explains how she creates valuable and soulful art: “For me, nature is alluring, personal space is sacred, and there is a gravitation towards the moments and momentum in the creative process. There is appreciation in labor coupled with uncertainty.”

Methe received her BFA from Northern Arizona University in 2011 and her MFA from University of Minnesota in 2015. She now lives in Flagstaff, Arizona, where she teaches at Northern Arizona University and continues to make her art inspired by intimacy, process, and history. 

Make sure to check out more great eye candy from our Guest bloggers from Ceramic Artists Now on their website