Juried by Sam Chung
January 7-March 4, 2017
Click here to apply
Calendar:
September 22nd, 2017: Application deadline
October 20th, 2017: Notification on Website
December 18th, 2017: Work due at Gallery by this date
January 6th, 2017, 6-8: Opening Reception
March 4th, 2017: Exhibition Closes
Exhibition Requirements and Application Process
EXHIBITION
- 100 Teapots VIII will be hosted by Baltimore Clayworks and held in our Main Exhibition Gallery from January 7-March 4, 2017.
- The opening reception will be Friday, January 6, 2017 from 6:00-8:00 pm
- Work must remain in our gallery for the duration of the show.
- Accepted artists are responsible for shipping both to and from Baltimore Clayworks’ Gallery.
- Baltimore Clayworks receives 50% of the retail price of each artwork sold, the artist receives 50%.
ELIGIBILITY
- 100 Teapots VIII is open to ceramic artists who reside in the United States
- Work must have been completed in the past two years
- Clay must be the primary material
- All works must be for sale
- Notification of accepted artists will be posted on our website by October 20th, 2016
- Additional paperwork will be sent to accepted artists after notification
APPLICATION
- All applications must be received by September 22, 2016
- Include a $30 application fee
- No more than 5 images (including details) may be submitted
- Images submitted must be of work available for the exhibition
- Each image must be a JPEG (.jpg) digital file of at least 300dpi at 5×7 inches
- Each file name must be labeled with the artist’s three
initials in this order: Last, First, Middle (use “X” if no middle
initial) and the corresponding number from the Image information page. - For example- Arthur Clay Potter would be “pac_1.jpg”
Juror’s Statement:
The teapot is one of the most recognizable and iconic
pottery forms throughout the world. It’s a form that has evolved
throughout history in many cultures, yet its function remains constant,
to deliver tea. Not many ceramic forms point at such a specific
ritual as the teapot does. The handle extends an offer to the user’s
hand, the lid invites the user to insert tea and hot water, and the
spout delivers the reward. It’s a magical object that mediates a
series of actions for a specific beverage.
There is probably no other pottery form that is as complex
as the teapot. What other form demands so much attention to so many
things? Form, design, function, ergonomics, pouring, scale, and history
are among many of the factors that one can address. It is also has the
most sculptural potential within the vernacular of pottery and
continues to be one of the most broadly interpreted forms in ceramics.
From strictly functional, to cube-shaped, to figurative, to organic,
the teapot has taken on so many variations. It has been one of the
most creatively interpreted forms in historical and contemporary
ceramics.
Sam Chung received his MFA from Arizona State
University and his BA from St. Olaf College. He taught at Northern
Michigan University from 1998-2007 and has been teaching at Arizona
State University since 2007 where he is an Associate Professor of
Ceramics. He has exhibited at Harvey Meadows, Ann Linnemann Gallery,
AKAR, Greenwich House Pottery, Sherry Leedy and Lacoste Gallery. Sam’s
work is included in the collections of The Crocker Art Museum (CA),
Icheon World Ceramic Center (Korea), Guldagergaard (Denmark) and San
Angelo Museum (TX), and American Museum of Ceramic Art (CA).
