The Call for Submissions for the 2021 Winifred Shantz Award for Ceramics is now Open!
The Canadian Clay & Glass Gallery is calling for submissions to the 2021 Winifred Shantz Award for Ceramics. In order to be considered, applications for the award must be received electronically by Friday, April 30, 2021.
This prestigious national award allows practicing emerging ceramic artists to undertake a period of independent research, or other activities that advance their artistic and professional practice. The winner of the Award will receive $10,000. The selection is made by a jury comprised of respected contemporary ceramic artists and other arts professionals.
The winner and up to five finalists will have their work featured in a group exhibition at the Canadian Clay & Glass Gallery from September 2021 to January 2022. The exhibiting finalists will receive an artist fee commensurate with the current CARFAC Fee Schedule. The Award will be presented at the opening reception, held at the Gallery in Waterloo on Sunday, September 26that 2:00pm. Transportation and accommodation will be provided to the winner, as required. In order to be eligible for the Award, applicants must be available to attend the reception on September 26th and be prepared to make a brief artist talk. All details related to the exhibition and reception are subject to change according to relevant COVID-19 restrictions including dates, attendance, location, and possible online formats. The winner and finalists will be notified in early June.
To apply to the Winifred Shantz Award for Ceramics, you must be a Canadian citizen or have Permanent Resident status, as defined by Citizenship and Immigration Canada. You must also meet our definition of an emerging professional artist, which is an artist who:
- has maintained a professional practice for five to ten years as of the application deadline date. Professional practice typically begins upon completion of a college or bachelor’s degree in ceramics. If alternate circumstances apply, demonstrate how you identify as an emerging artist in the cover letter portion of the application;
- has developed skills through training and/or practice in the field;
- operates or has consistent access to a ceramic studio;
- has a body of work that incorporates a public presence and peer recognition; and
- seeks payment for their work and has an active and engaged practice
Nurielle Stern, winner of the 2019 Winifred Shantz Award for ceramics, was invited by Tony Marsh, Director of the Center for Contemporary Ceramics at California State University, Long Beach, to be a visiting artist at the Center in 2020. Of her experience, Nurielle stated:
The Winifred Shantz Award combined with a Canada Council Arts Abroad Grant afforded me the opportunity to travel for this residency in order to produce large-scale ceramic sculptural pieces. During this residency, I was able to access the school’s amazing facilities to create ambitious work beyond what would be possible in my Toronto studio. It was a unique opportunity to learn from and receive feedback from peers and to make international connections with other visiting artists and become familiar with some of the galleries and museums in L.A. The CSULB Center for Contemporary Ceramics is a high profile residency, and I’m incredibly honoured to have been chosen for this opportunity. My fellow artists in residence in winter 2020 included Simone Leigh, Heidi Lau, and Sharif Farrag, among others. Many thanks to Tony Marsh, the Shantz Family and The Keith and Winifred Shantz Fund for the Arts, the Canadian Clay and Glass Gallery, and the Canada Council for the Arts.
To download the complete application guidelines for the 2021 Winifred Shantz Award for Ceramics, click here.
About the Winifred Shantz Award for Ceramics
The Winifred Shantz Award for Ceramics is supported by The Keith and Winifred Shantz Fund for the Arts, held at Kitchener Waterloo Community Foundation. This prestigious $10,000 award allows practising early career ceramic artists to undertake a period of independent research, or other activities that advance their artistic and professional practice. The winner and up to five finalists are also included in a group exhibition at the Gallery.
Past recipients of the award truly represent the best of the emerging ceramic artists in Canada. Joon Hee Kim of Oakville, Ontario was the winner of the 2020 Winifred Shantz Award for Ceramics. Click here to learn more about winners of the award in past years.
About Winifred Shantz:
The late Winifred Shantz was a driving force for the arts in Waterloo Region for more than 40 years. A successful ceramist, entrepreneur and visionary philanthropist, she was committed to finding ways to enable artists to reach their full potential.
Craft ACT’s annual exhibition call out is now open
Craft ACT: Craft + Design Centre invites craftspeople, designers, makers and curators at all levels of experience and across a variety of mediums to propose new exhibitions for the 2022 artistic program.
“As a 50-year-old membership organisation, we love to collaborate with artists to curate an extraordinary artistic program which embeds contemporary craft, making and design at the centre of everyday life in Australia’s capital, a global city of design,” said Rachael Coghlan, CEO + Artistic Director.
Craft ACT’s exhibition program is highly regarded and has received multiple awards. Artists whose work is featured in the Craft ACT artistic program place their work in view of collecting institutions, business and industry, individual collectors and audiences. It is a valued opportunity to foster innovation and excellence, and to help artists make a living from their practice. Experimental and traditional exhibitions, as well as regional, national and international projects, can be supported.
Recently, the high-quality exhibition program has expanded its reach and legacy by moving to deeper digital engagement. “Expanded digital engagement was a pivot during the Covid-19 lockdown but has turned into a deeply meaningful and valuable dimension of our core programming. In addition to showcasing new work, building artist’s CVs and commissioning critical essays, exhibitions selected for the Craft ACT artistic program will be supported by online videos, catalogues, interviews and professional photography,” said Coghlan.
About the exhibition program
The annual artistic program showcases and supports recent graduates and early career artists, high-calibre and iconic practitioners, as well as craft and design researchers. Every proposal is assessed by a panel of respected artists across the craft mediums of ceramics, textiles, glass, jewellery and furniture, as well as design. This rigorous ‘peer review’ approach is considered the gold standard in the arts sector, helping to promote excellence, represent diversity and remain at the cutting edge in contemporary craft and design. Selection is highly competitive every year. Craft ACT receives more applications than can be accommodated.
About Craft ACT: Craft + Design Centre
Since 1971, Craft ACT has played a vital role in sustaining Australia’s high-quality studio practice and supporting craftspeople, designers and audiences. We are proudly one of Australia’s longest continuous-running membership organisations in the visual arts and we have much to celebrate. Craft ACT is recognised as a leading centre in Australian craft and design, with a vision to strengthen the dynamic link between the arts – as encompassed in the craft sector – and the broad creative industries and design sector.
Submissions due
Proposals must be received by 11.59 pm (AEST) Sunday 21 March 2021.
Late proposals will not be accepted.
Need further information?
Contact
Rachael Coghlan
CEO/Artistic Director, Craft ACT: [email protected] or 02 6262 9333
or
Madisyn Zabel
Gallery Manager, Craft ACT: [email protected] or 62629333
Submit 2022 Craft ACT exhibition application
Image: Surface Vector exhibition by Dan Lorrimer, 2020. Photo: 5 Foot Photography
job posting: Development Coordinator & Grants Manager @ The Clay Studio
Pioneering Women Exhibition @ Oxford Ceramics Gallery
The following is the press release for the exhibition from their website:
“PIONEERING WOMEN 14 February – 27 March 2021
This February, Oxford Ceramics Gallery will present ‘PIONEERING WOMEN’, an exhibition featuring some 40 works by 10 pioneering female artists. The exhibition will celebrate the significant contribution this group of artists has made to the development of contemporary ceramics, with a focus on the ceramic vessel form.
From trailblazing figures such as Lucie Rie and Ladi Kwali to Bodil Manz, Magdalene Odundo and Jennifer Lee, the exhibition will reflect a broad interpretation of formal ceramic traditions. The vessels on display will range from Japanese clay work and the domestic pottery forms of Denmark, Korea and Nigeria, to works influenced by European movements such as Bauhaus and Postmodernism.
The exhibitors span three generations, from Viennese-born Lucie Rie (1902–1995) to Japanese-born Akiko Hirai (b. 1970). Rie, with her refined thrown and glazed domestic vessel forms, brought the unmistakable aesthetic of European modernism to the UK when she fled Vienna in 1938. Hirai, who is now based in London, re-interprets the traditional Korean Moon Jar form (originally an everyday storage jar) through combined coiling and throwing. This technique offers a contemporary take on the Korean tradition which is influential within the modernist school of studio ceramics. Another development of European modernist form can be seen in the work of Danish designer Bodil Manz (b. 1943). Manz’s precisely constructed cylinder vessels make use of industrial ceramic techniques such as slipcasting, mouldmaking and transfer printing to create simple translucent forms.
The hand-built hollow clay forms of Dutch artist Deirdre McLoughlin (b. 1949) reflect her time spent working with the experimental Sodeisha group of Japanese artists near Kyoto, in the early 1980s. Similarly, the winner of the 2017 LOEWE Foundation Craft Prize Jennifer Lee (b. 1956) studied Japanese traditions and techniques during residencies in Shigaraki, a period which deeply influenced her subtle earth-toned works. Japanese influences can also be seen in works by Danish artist, Inger Rokkjaer (1934– 2008) whose vessels meld a subtle use of raku with homage to the earthenware domestic pottery of her native Jutland, Denmark.
The unusual aesthetic of British artist Carol McNicoll (b. 1943), who originally trained in fine art, makes inventive use of industrial ceramic techniques. Combining her artistic knowledge of collage and textiles with slipcasting she creates patterned surfaces and
coloured, constructed, domestic forms intended for everyday use. Together with fellow British artist Alison Britton (b. 1948), McNicoll came to prominence as part of a group of female RCA graduates in 1970s London. Also known as ‘The London Ladies’, they were commonly identified with Postmodernism due to their free juxtaposition of formal traditions. Britton’s square, asymmetric vessels embody her characteristic fusion of painting and sculpture. These hand-built, large-scale forms explicitly reject the dominant, circular form beloved of modernist potters such as Rie.
Works on show by Nigerian artist, Ladi Kwali (1925–1984) combine throwing and hand- building, revealing her immersion in both African and European traditions. The latter was honed at the Abuja Pottery School, Nigeria, under English studio potter Michael Cardew in the 1950s. In 1974, Cardew introduced Kwali to Magdalene Odundo (b. 1950). Working with Kwali, Odundo studied the traditionally female technique of making utilitarian pots in Africa, as well as practical techniques like hand-building. Odundo used her experience with Kwali in Nigeria to develop her independent approach to ceramics, originally fostered as a student at Farnham School of Art. Her powerful, red and black clay vessel forms reveal keen understanding of the hybrid nature of ceramic art forms.
ENDS
Notes to Editors
Image credit: Lucie Rie, Porcelain conical bowl with manganese glaze and sgraffito, 10 x 20 cm. Image: Michael Harvey.
For all PRESS enquiries please contact Rees & Co: Yasmin Hyder | [email protected]
Carrie Rees | [email protected]
Oxford Ceramics Gallery, 29 Walton St, Oxford, OX2 6AA
T +44 (0)18 6551 2320 | E [email protected] | W oxfordceramics.com | I @oxfordceramicsgallery
Exhibition dates: 14 February – 27 March 2021
Open Wednesday–Saturday, 11am–4pm, by appointment
Please note: due to new Covid-19 guidelines Oxford Ceramics Gallery will remain temporarily closed until further notice.
About the Curators
James Fordham, Founding Director of Oxford Ceramics Gallery, is an acknowledged expert in the field of studio ceramics, and regular advisor to both museums and private collectors in the field. Through his work at Oxford Ceramics Gallery he is developing a programme of well-researched 20th century and contemporary ceramic exhibitions which make an active contribution to the development of scholarship, knowledge and understanding in the field. In 2016 he invited experienced independent curator Amanda Game to work with him and the gallery on a regular basis to develop aspects of this programme. Recent collaborations have included ‘Blue and White’, June 2019, that explored contemporary perspectives on this ancient ceramic tradition and ‘Oxford Pioneers’, November 2018, which celebrated the life and work of potter turned gallerist Joan Crossley-Holland.
Amanda Game has enjoyed a 40-year career as an exhibition maker, curator and events producer with a specialist interest in supporting contemporary makers: their thinking and their objects. Following a 21 year career in commercial practice at the Scottish Gallery, Edinburgh (1986 – 2007), Game established an independent studio to foster imaginative exhibition making in both public and private galleries working with clients which include Dovecot Tapestry Studios, Edinburgh; V & A Museum, London; Goldsmiths Centre, London; Jerwood Charitable Foundation; National Museums, Edinburgh; Fitzwilliam Museum, Cambridge; Two Temple Place, London.
About Oxford Ceramics Gallery
Oxford Ceramics Gallery was set up online in 2006 and opened its doors in Oxford, in 2011. The gallery has a genuine passion for ceramics underpinned by extensive knowledge gained over 25 years, enabling it to offer world class ceramics in an intimate and well-designed viewing environment, placing ceramics within art history.”
job posting: Ceramics Studio Manager @ Ernabella Arts
Do you want the opportunity of a lifetime? Are you ready for an incredibly special, life-changing experience?
Ernabella Arts is seeking a full-time Ceramics Studio Manager, starting mid-May 2021. Write to [email protected] for the full position description and details.
Applications close 5pm, 19 March 2021.
This is a unique and exciting opportunity for a Ceramic Studio Manager who would like to experience life in a remote Indigenous community. You will need to be highly motivated, have both ceramic and management skills, together with a highly developed sense of aesthetics and technical experience in making a variety of ceramics. Respect and understanding of cross-cultural environment and knowledge of contemporary Aboriginal Art is also required.
upcoming workshop: Carole Epp @ Saskatoon Potters Guild
Register for the class here: https://form.jotform.com/worksh…/clay-and-chat-with-carole
Take my Illustrative Pottery Workshop with the Ceramics School
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