by Carole Epp | Dec 12, 2019 | Uncategorized
The Missouri Western State University Clay Guild is sponsoring a National Ceramic Exhibition titled Off the Table: Clay for the Wall. The exhibition is open to all artists 18 years and older residing in the U.S. Artworks must have been completed within the last two years. Works may be either functional or sculptural forms designed to hang on the wall. All entries must be complete with a hanging device capable of securely supporting the work on the wall for the duration of the exhibition. It is preferred that the hanging device not be visible when the piece is displayed. The $30.00 jury fee entitles each artist to submit a maximum of three entries.
Awards:
$500 – Best of Show
$200 – 1st Place
$100 – 2nd Place
Awards will be selected at the sole discretion of the juror.
Juror: Eric Knoche
Eric Knoche had a very bad attitude towards pottery as a child and young adult. Towards the end of his time at university he touched clay for the first time and after that could no long imagine doing anything else with his life. He subsequently worked for two years with ceramist Jeff Shapiro and for six months with Isezaki Jun, Living National Treasure, Bizen, Japan. In 2011 he discovered the Argentine tango and now splits his passions between clay work and dancing. In addition he enjoys playing Sheepshead, trap shooting and checking the cloud formations for the face of Elvis. Eric lives in Asheville, NC with his wife Kristin.
Eric Knoche – Chains
Calendar:
| January 18, 2020 |
Online Submission Deadline |
| January 18, 2020 |
Postmark for 30.00 Jury Fee |
| February 3, 2020 |
Acceptance Notification |
| February 12, 2020 |
Shipped Artwork Due to Gallery (artwork may be hand-delivered between 10am-4pm) |
| February 18-21, 2020 |
Installation of Exhibition |
| February 21, 2020 |
Exhibition Opens – Reception: 6pm-8pm |
| March 20, 2020 |
Exhibition Closes |
| April 2, 2020 |
Return of Artwork and Pick-Up of Hand-Delivered Artwork between 10 am – 4 pm |
Eligibility: Open to all ceramic artists 18 years and older residing in the U.S. Artworks must have been completed within the last two years. Works may be either functional or sculptural forms designed to hang on the wall. All entries must be complete with a hanging device capable of securely supporting the work on the wall for the duration of the exhibition. It is preferred that the hanging device not be visible when the piece is displayed. The $30.00 jury fee entitles each artist to submit a maximum of three entries.
Media: All works must be primarily ceramic. Mixed media works will also be accepted if clay comprises at least 50% of the artwork. The juror will make all final determinations.
Size Entries are limited to a maximum height and width of 24 x 24 inches and should not exceed 25 pounds.
Digital Images Submission: Images should be submitted in JPG format. Size images to 1920 pixels on the longest side at 300 dpi. Images should be named using the following format:
First Initial_Last Name_ Submission #.JPG (example: J_Smith_1.JPG)
Use of Images: The MWSU Clay Guild reserves the right to use submitted images of artwork for publicity, documentation, education, and promotion.
Entry Fee: $30.00 for three entries. After submitting your application online, your screen should display a print page (you will also receive an email). Please print the page and send it with your check to complete the registration process to:
David Harris
MWSU Clay Guild – Off the Table: Clay for the Wall 2020
Missouri Western State University
4525 Downs Drive
St. Joseph, MO 64507
Sales: The Clay Guild will take a 25% commission on sales made during the exhibition.
Rules: All accepted work must remain for the duration of the show. Submission of the entry form signifies the artist’s understanding and acceptance of the rules of the exhibit.
Opening: Exhibition opens February 21, 2020 from 5 p.m. to 7:30 p.m. It will be held in the Potter Fine Arts Gallery located on the Missouri Western State University campus. All artists are invited to attend.
Shipping: Artists are responsible for shipping their work to and from the MWSU Potter Fine Arts Gallery and insuring it while in transit. Shipped entries must be securely packed (No Styrofoam Peanuts) and sent in substantial reusable containers. Double boxing is strongly recommended. Accepted works should arrive at the gallery no later than February 12, 2020
Return Shipping: Artists must provide a pre-paid return shipping label for the return of unsold items.. Artwork left with the gallery more than 30 days after the close of the exhibition, without return arrangements, will be deemed abandoned and become the property of the MWSU Clay Guild to do with as they will.
Ship Selected Work To:
MWSU Clay Guild – Off the Table: Clay for the Wall 2020
Potter Fine Arts Gallery
Missouri Western State University
4525 Downs Drive
St. Joseph, MO 64507
1-816-271-4282
Liability: Every reasonable precaution will be taken during receiving, installing, exhibition, and return of work, but the MWSU Clay Guild, its members, volunteers, and Missouri Western State University will assume no responsibility for loss or damage incurred. Artists must carry their own insurance.
Questions: email: [email protected] or David Harris at [email protected]
by Carole Epp | Dec 9, 2019 | Uncategorized
The MA in Critical Craft Studies is a low-residency graduate program in craft history and theory. This full-time, four-semester/ five-residency program is the first of its kind in the US. Students and faculty meet for two weeks of lectures, workshops, seminars, readings, project work, and individual conferences each July and January. The two-year continuous program begins in July; all July residencies are held on the Warren Wilson campus, and January residencies are held in downtown Asheville with classes at The Center for Craft. Students return to campus for a fifth and final residency to present their final projects in a public colloquium, co-organized by Warren Wilson College and The Center for Craft. Students work individually and collaboratively during residencies the following semester terms. Each student spends 20-25 hours per week on readings, writing and research assignments, meetings with mentors in their place of residence or online, online faculty sessions, and group meetings. Coursework builds critical thinking, research methods, and experience with formats ranging from writing and podcasts to exhibitions and curriculum development. Final projects demonstrate applied knowledge in craft histories and theories, and may include: a journal-article length thesis; an exhibition with essays, programs and texts; curricular development with lectures; a scholarly conference with publication; a podcast series; Object Library development; or a series of short critical essays.
Faculty include leading theorists, historians, scholars and artists in the field of craft studies, art history, art, material culture, anthropology and other connected disciplines from the US and abroad; faculty work with students during residencies and online during the semester. Mentors offer additional connections to the field; mentors meet in person or online with students each semester to connect curriculum and communities. Residency faculty present their work in evening programs and paired conversations; these are free and open to the public.
Undergraduates at Warren Wilson College connect with graduate students and visiting faculty through Work Crews, visitors during the academic year, development of the Object Library, exhibition development, and craft history courses.
The Residency
Residency instruction includes a combination of lectures, discussions, readings, field trips, workshops, hands-on material labs, studio visits, as well as a mixture of individual and group work. Students will explore craft histories and theories from around the globe and a range of disciplines through readings and interaction with experts within and outside of craft studies. Coursework, concepts and research methods for each semester are introduced in the residencies and further explored through independent study, project assignments, online group discussions, and monthly meetings with individual mentors.
Research and Material Labs are designed to engage the Swannanoa/Asheville area as case studies. To complete Labs, students apply methods and approaches learned in their own hometowns. While the program includes a Material Lab, the emphasis is not on the acquisition and development of skills. Instead, students work on understanding materials and processes to improve their understanding of how things are made and to cultivate direct ways of investigating craft that brings process together with theory, history, and finished work.
All research findings are shared and engaged collectively to expand the field through collective exchange and knowledge building.
Master of Arts in Critical Craft Studies
by Carole Epp | Dec 3, 2019 | technical tuesday, Uncategorized
“A fascination with large Onggi vessels and the rough simplicity of Korean slipware led Kwak Kyung-tae to develop his own voice in clay. He works exclusively in Onggi and Buncheong, taking his inspiration from the traditions of the Korean peninsula of his birth, particularly during the Joseon dynasty, and applying them in a modern context. His work is resonant of nature’s forms and structures through wheel-thrown and altered work, often including spontaneous marks and gestural brushwork on large pots. His works evoke a balance of the crude and the sublime power of nature’s imperfection, in large and small scale work. The austerity of his style is born from an honest, tacit relationship with clay developed and mastered over a lifetime. He has held solo and group exhibitions throughout East Asia and Europe. His pieces are sold in galleries and shops in Europe, Asia, and the USA.”
Find out more and register HERE.
by Carole Epp | Nov 24, 2019 | Uncategorized
We’re thrilled to announce the launch of our Artaxis Fundraising Sale! At 2pm EST on Tuesday Nov. 26th, the sale will go live at https://shopartaxis.org/. Over 100 works by Artaxis members will be available for sale and 100% of the proceeds from each sale will go to support our fundraising efforts.
Artaxis is a member-driven, all volunteer 501(c)3 non-profit arts organization. Featuring over 750 artists from 50 countries, Artaxis engages the ceramics community through promotional, educational, and networking programs while celebrating diverse artistic practices and being a resource of aesthetic values.
Works available during the fundraising sale by James Aarons, Ben Ahlvers, Avi Amesbury, Wesley Anderegg, Natalia Arbelaez, Mark Arnold, Posey Bacopoulos, Tom Bartel, Jamie Bates Slone, Hayne Bayless, Scott Bennett, Paul Briggs, Tom Budzak, Amanda Bury, Ryan Caldwell, Anna Calluori Holcombe, Seth Charles, Sam Chung, Mike Cinelli, Israel Davis, Lindsey Dezman, Kathy Erteman, Sydney Ewerth, April Felipe, Brock Flamion, Leslie Fry, Shamai Gibsh, Andrew Gilliatt, Blanca Guerra Echeverria, Brian Harper, Mike Jabbur, Samuel Johnson, Julianne Shibata, Margaret Kinkeade, Todd Leech, Simon Levin, Robbie Lobell, Linda Lopez, Emily Loehle, Tyler Lotz, Wade MacDonald, Ryan McKerley, Ian Meares, Melissa Mencini, Courtney Michaud, Brooke Millecchia, Oleksandr Miroshnychenko, Sara Morales-Morgan, Rebecca Murtaugh, Janina Myronova, Yuko Nishikawa, Richard Notkin, Kyounghwa Oh, Joe Page, Jarrred Pfeiffer, Justin Rothshank, Amanda Salov, Lauren Sandler, Phoenix Savage, Matthew Schiemann, Judd Schifman, Grace Sheese, Amy Smith, Mac Star McCusker, Linda Swanson, Anna Syarova, Judi Tavill, Shulamit Teiblum-Millar, Ian Thomas, James Tingey, Kwok-Pong “Bobby” Tso, Vidya Vijayasekharan, Jerilyn Virden, Sally Walk, Mikey Walsh, Casey Whittier, Adil Writer, and Lisa York.
Our fundraising is critical to the success of our mission, so your support is much appreciated!
Sincerely,
The Artaxis Board of Directors and Executive Director,
Brian Harper, Raheleh Filsoofi, Salvador Jiménez-Flores, Samuel Johnson, Didem Mert, Anthony Stellaccio, Kwok-Pong “Bobby” Tso, Adam Welch, Casey Whittier
by Carole Epp | Nov 17, 2019 | call for entry, Uncategorized
http://www.ceramicsireland.ie/currentevents
by Carole Epp | Nov 8, 2019 | Uncategorized
“Hey Red Clay Rambler fans, the leaves are falling here in the U.S. so it’s time for our Fall fund drive. Our goal for the month of November is to raise $12,000 to support our production costs. Throughout the year I receive emails from fans who talk about how this podcast helps them connect with other artists around the world. One recent listener said, “I appreciate all the voices you give a platform to, especially amazing women like Naomi Clement.” Giving voice to the many generations of ceramics artists that are working today is my mission and I need your help to accomplish it. You can get involved by making a donation through the Pay Pal donation portal above or by making a monthly pledge at patreon.com/redclayrambler.” – Ben Carter
On a personal note I want to encourage you to consider supporting Ben and all his work. As someone who understands the hours that are put into projects like this, I know it comes with sacrifices. Image above is from a visit Ben had in Saskatchewan in 2015 with artists Paula Cooley, Ken Wilkinson and Judy Tryon. I’ve had the honor of being interviewed by Ben a few times and sitting on the side lines while he has meet with and engaged with our community. Over the years of listening to Ben’s podcast I have found that his interviews inspire creativity and innovation, and also strengthen his listeners’ engagement with over-arching issues within our field, including the complex issues around making in contemporary culture, diversity in our field or sustainability. From the personal to the political and everything in between, his interviews draw out conversations that we all should be contemplating in our studio practices. Through the longevity of this podcast, he has created an oral history of contemporary clay that is unparalleled elsewhere. Tales of a Red Clay Rambler will be a resource for numerous future generations of makers, collectors, researchers and ceramic enthusiasts. – Carole
