Call for Entries – Crsytalline Ceramics

Call for Entry to Crystalline Glaze Artists

A Crystalline Glaze Exhibition
In conjunction with NCECA 2011

Deadline for Entries: December 15, 2010
Exhibition Dates: March 25/May 1, 2011

Submit Digital Images via Email to: [email protected]
Submit PayPal payments to: [email protected]

You may also submit a check payable to FIFCW and send it with your application to the address below:

or send CD with images to:
Frozen in Fire Exhibition
c/o Avi Harriman
1012 W. 8th Ave
Eugene, OR 97402

Number of submissions:
You may submit up to 3 entries at $15 per entry

Digital Image Format Requirements:
• Resolution – 300 DPI
• File Format – JPEG or TIFF
• 1 or 2 views per submission

Dates:
• December 15, 2010 — Deadline to submit entries.
• January 15, 2011 — Jury process complete.
• January 31, 2011 — Notification process sent out by email.
• February 28, 2011 — Pieces accepted must be received by the Dunedin Fine Art Center.
• March 25 through May 1, 2011 — Exhibition dates.
• March 24, 2011 from 6:00pm to 9pm — Exhibition Opening/Reception
at the Dunedin Fine Art Center, Dunedin, Florida.

Any questions contact:

[email protected]

via Clay Club

BAM Biennial 2010: Clay Throwdown!


August 28th 2010 to January 16th 2011

BAM Biennial 2010: Clay Throwdown!
is the inaugural edition of BAM’s new, juried exhibition competition. With over 30 participating artists, it provides a panoramic survey of ceramic art created in the Pacific Northwest and a glimpse into the many directions in which this dynamic medium is moving.
Clay Throwdown! features a select blend of both emerging and established artists with an emphasis on new and site-specific works. It reflects the diverse responses of contemporary artists to one of the oldest media known to man: clay. From personal gestures to commentary on today’s social issues, Clay Throwdown! assembles a wide range of voices unique to the Pacific Northwest and our time. The competition is accompanied by two distinct awards. The John & Joyce Price Award of Excellence, a $5,000 cash prize plus the opportunity of a future solo exhibition at BAM. The Samuel & Patricia Smith People’s Choice Award comes with a $5,000 cash prize and will be selected by Museum visitors. Be sure to cast your vote when visiting BAM! The winner will be announced at the October 28th Members’ Reception.

PARTICIPATING ARTISTS
Chris Antemann (OR)
Brian Benfer (WA)
Nicholas Bivins (MT)
Frank Boyden (OR)
Nathan Craven (MT)

Daniel Duford (OR)
Sean Erwin (MT)
Robert Fornell (WA)

Carol Gouthro (WA)

Damian Grava (WA)

Heidi Preuss Grew (OR)

Charles Krafft (WA)
Cynthia Lahti (OR)
Kate MacDowell (OR)
Paul Mathieu (BC)
Sequoia Miller (WA)

Saya Moriyasu (WA)
Yuki Nakamura (WA)

Richard Notkin (MT)
Nicholas Nyland (WA)
Arun Sharma (WA)

Ken Shores (OR)
Mike Simi (WA)
Kevin Snipes (MT)

Dirk Staschke (BC)

Brendan Tang (BC)

Timea Tihanyi (WA)

Tip Toland (WA)

Kathy Venter (BC)
Jamie Walker (WA)
Jason Walker (WA)
Patti Warashina (WA)

Gwendolyn Yoppolo (MT)


ABOUT BAM BIENNIAL
BAM Biennial is a juried exhibition that occurs every two years starting in 2010. It brings attention and exposure to the work of contemporary artists and craftsmen in the Pacific Northwest. For each edition, the Museum designates a new focus, exploring a specific medium, technique, process or theme in art, craft and design, the Museum’s artistic focal point. More than 170 proposals were submitted to the 2010 edition which is focused on the theme of clay. 34 artists have been selected to participate in the competition. Submissions were reviewed by a select panel of four jurors comprised of: Bif Brigman, collector (Seattle, WA); Stefano Catalani, Director of Curatorial Affairs/Artistic Director, Bellevue Arts Museum (Bellevue, WA); Akio Takamori, artist (Seattle, WA) and Namita Wiggers, Curator, Museum of Contemporary Craft (Portland, OR).For more info please visit their website.

Relational Craft and Design – Issue #4 Call for papers

craft +design enquiry is currently calling for papers that relate to the theme of ‘relational craft and design’.

Despite the vigorous debate surrounding the disciplinary parameters and practice roles for craft and design in recent years, their relationship is characterised by wildly divergent interpretations. ‘Craft’ has become a significant and weighty word again at a time when the meaning of ‘design’ is shifting both within and outside the visual arts. Today we note everything from drug design to policy design, where ‘design’ indicates a higher level of consideration, conceptual and strategic thinking. Within this context, contemporary craft might appear as specific and cultural, while design’s seeming ubiquity carries certain risks. Curiously, the rise of design and its claims to a social role as a change-agent links contemporary design to earlier and well-understood craft polemics. For example, has design taken over the making of the object from craft? Does this help explain the neglect of craft as practice and description in studio-based art education and the concomitant rise of design within university settings in the past ten years? Art cannot be excluded when addressing these interdisciplinary questions. Might Nicolas Bourriaud’s concepts of ‘relational art and aesthetics’ be used to re-conceptualize these fields, despite, or perhaps in light of, his view that too great an emphasis on craft acts to exclude audiences? Is the legitimacy of craft shifting from the production of objects to the creation of links between people? This issue (craft + design enquiry #4) calls for papers that consider wide-ranging topics: How is ‘craft’ articulated (or elided) in contemporary architecture, fashion, and design generally; as well as film, if one considers the rise of model-making and other visual effects in contemporary culture? What does it mean that certain overlooked aspects of craft have been at work in all of these practices, but were often referred to with different language, through terms such as ‘technique’ and ‘process’ during the years that craft was ‘unfashionable’? Within this trajectory, what is the current understanding of the relationship (and lack thereof) between craft and design in itself? We welcome contributions that access or re-interpret craftsperson’s work as ‘design’ or reconsider the ‘ground’ on which such disciplinary claims have been made in the first place. The guest editors for this issue ofcraft + design enquiry on relational craft and design, and the convenors of this session at the AAANZ 2010 conference, are Professor Peter McNeil and Dr Rosemary Hawker. This issue of craft + design enquiry will be published in mid-2012. The call for papers closes on 30 June 2011. In addition, a special paper session of the Art Association of Australia and New Zealand (AAANZ) Annual Conference in Adelaide 1-3 December 2010 will be devoted to this topic and papers may be considered from that occasion. Call for Papers closing date 30 June 2011 To submit a paper please register online by the closing date of 30 June 2011. Refer to author guidelines for further information. For inquiries relating to this issue or submission of papers, please contact one of the Co-Guest Editors, Peter McNeil or Rosemary Hawker For administrative enquiries, please contact Jenny DevesWebsite

A site 2 see friday – Tree Pottery

Today’s site to see is a shout out to my local pottery supply store here in Saskatoon.

Tree opened back in 1974 and has been supplying the local community of ceramic artists ever since. Louise Roy, the shops’ owner is one of the most fantastically lovely people to do business with. My little guy and always enjoy our visit.


Check out the website here.

Got a suggestion for a site to see fridays or monday morning eye candy? Drop me a line at [email protected]