100 Years 100 Women @ The Clay Studio

August 18th, 2020 is the 100th anniversary of the ratification of the 19th amendment, giving women in the US the right to vote.

Who gained the right to vote when the 19th amendment was ratified on August 18th, 1920? The amendment stated that “The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any state on account of sex. Congress shall have power to enforce this article by appropriate legislation.” It was a partial victory, but who was still excluded? Native Americans, most Asian Americans, and although African Americans were technically included, it was not until the 1965 Voting Rights Act that racial discrimination was prohibited. Even today, many BIPOC citizens still face disenfranchisement.

We are taking advantage of this anniversary to celebrate the work for women’s rights that has been done, while simultaneously acknowledging the work that remains. Statistics show that women earn only about 80% of what men earn, while women of color earn only 65% of what white men earn.[1] The US Congress is only 23% women,[2] and we still have not seen a woman president. The struggle of trans and woman identifying people is still in its infancy. These facts are the tip of the iceberg of remaining disparities that we must continue to dismantle.

Women have fought hard in so many ways, against extreme injustice, to gain a foothold for themselves and others, for their children, and for all children. This work, both public and private, is deserving of celebration and admiration.

We asked 50 artists to each choose two women they admire and honor them by making a modern-day commemorative plate. We welcome all perspectives on this topic, and we embrace a wide definition of women, transgender, and female identifying people. The people each artist chooses can be famous, anonymous, or their own private inspirations. The artists selected reflect the true wide range of cultures and gender identities of people making art in clay. By choosing artists across cultures and gender identities we welcome an illustration of women important to each artist within their varying experiences.

We are excited to present commemorative plates dedicated to women who these artists feel embody the spirit of female empowerment, and who deserve recognition for their contributions to society.

We look forward to walking into a gallery of heroes who will inspire us to keep fighting for justice and equality.

[1] “Racial, gender wage gaps persist in U.S. despite some progress”. Pew Research Center. July 1, 2016. Retrieved November 26, 2016.

[2] Women in the US Congress 2020, Center for American Women and Politics, Rutgers University.

[1] “Racial, gender wage gaps persist in U.S. despite some progress”. Pew Research Center. July 1, 2016. Retrieved November 26, 2016.

[2] Women in the US Congress 2020, Center for American Women and Politics, Rutgers University.

Cover Photo: Sue Tirrell

www.theclaystudio.org/exhibitions/100-years-100-women

residency opportunity: Green-Wood Cemetery

Green-Wood’s new Artist-in-Residence program was created for emerging and mid-career artists to directly engage with the site’s unique art, history, and nature. Since its founding in 1838, the Cemetery has inspired generations of painters, writers, and musicians. The artist selected for this program will continue in that rich tradition of creative expression.

The residency is open to those living in New York City and working in the visual and/or performing arts. Special consideration will be given to those whose final project can engage communities within the surrounding neighborhoods of Green-Wood. The artist will be provided an honorarium and studio space in the Historic Landmark Gatehouse on Fort Hamilton Parkway, as well as access to the Cemetery’s professional staff and archives and historical collections. The 9-month residency will take place January – September 2021.

Read more about this incredibly unique opportunity HERE.

And apply HERE.

2020 Bray Benefit Auction

Welcome to the 2020 Bray Benefit Auction!

The Live Auction lots will close on Thursday, July 30th, beginning at 8 p.m. (MDT). Each lot will display its individual closing time, as the closing will be staggered. Use the drop down menu to view all auction lots. For better views of the Live Auction works, view the catalog here.

The Cup Auction, Silent Auction, and Auction Experience lots will close at 8 p.m. (MDT) on Friday, July 31st.

Bidding on all lots will begin on Saturday, July 25th at 10am (MDT).

Click here to Register!

Click here to buy a ticket to the Live Feature programming on July 30th from 7-8pm (MDT)

For information about the auction items and delivery, questions, or assistance with registering or placing bids, please contact [email protected] or call (406)443-3502 ext 18.

How To Bid and Donate:

1. Use the top-left menu to view the Live Auction Items, Silent Auction Items, Cup Auction Items, or Experience Auction items. Also use the left hand menu bar to access My Bids or Make a Donation.

2. To bid, select an item, enter your amount and then click ‘Place Bid’. Use the ‘Max Bid’ function and the system will bid for you up to the amount entered. The Live Auction is a sealed bidding system in which you can see the number of bids an item has, but not the other values of the bids.

3. Register your details and then ‘Confirm Your Bid’.

4. Receive outbid text notifications and bid again! Keep an eye on the leaderboard screens during the Live Feature Programming to see if you’re still the winning bidder!

Shipping

Shipping is not included in the buy price of the auction lots. You will be contacted with additional shipping expenses 1-2 weeks after the close of the auction. We do our best to keep these expenses as minimal as possible. Local pick up is also available. Thank you for your understanding.

If you have any questions please refer to the FAQs section or contact us at [email protected] or 406.443.3502 ext 18

https://givergy.us/archiebrayauction/?controller=home

Art of the Pot – Final few days!!!

SHOP NOW

 

Like so many spring tours nationwide, Art of the Pot postponed this year’s annual studio tour plans until next year. So for 2020 we decided to shine a spotlight on some of our favorite past guests who are primarily working studio potters. This alternative online offering still fulfills our mission by bringing the newer works of cutting-edge ceramists to our local as well as a national audience.

Support our artists by welcoming into your home, some of the most beautiful functional pottery made today. During this time, our artists depend on online support to keep their wheels spinning and creativity advancing.

www.artofthepot.com

Jyotsna Bhatt: High priestess of fire and clay passes away

via THE HINDU:

“Simplicity and vividness were the best attributes to describe her art and ceramics. Simplicity, for her, meant silent sophistication. Nature was her leitmotif. She framed forms through her own understanding of nature and human experience.

A ceramic cat or owl was more than just an artwork for her. She glazed her ceramics in such an inimitable way, giving them evocative rugged and rough surfaces.

Jyotsna behen, as she was popularly called, considered Ira Chaudhri as the Guru of the Indian ceramic movement. In India where a lot of ceramic work has echoes of borrowing/imitation, Jyotsna behen’s intrinsic understanding of the relationship between form and the ferment became her signature.

Her sculpted entities around nature, the spontaneity of clay and the marvels of expression speaking through her plant forms, owls and smiling cats.

Born Jyotsna Shroff in 1940 at Mandvi in Kutch, she lost her father early but her uncle saw her aptitude in fine arts and encouraged her to pursue it.

Her journey at the wheel began in the 1960s in Vadodara. A high priestess of the world of minerals and fire and clay, she looked around her garden at Vadodara for stimulus and inspiration.

Married to celebrated artist and Padma Shri, Jyoti Bhatt, she always maintained that her husband was very supportive and her family played an important part in her achievements.

She studied sculpture under Prof. Sankho Chaudhuri at the famed M.S. University at Baroda and later ceramics at the Brooklyn Museum Art School in the U.S. Returning to India she taught at, and later headed the Department of Ceramics at her alma mater until her retirement in 2002.

Her sensitivity and her distinct sensibility was born of a deep understanding of the arts and crafts heritage of Gujarat. Her journey saw the genesis of a silent yet robust modernist potter, who was at home in the contemporary world and comfortable in her own skin, sharing secrets as she went along.”

Read the full article on her life and work HERE.