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movie day: Activism Needs Introverts
For the introverts among us, traditional forms activism like marches, protests and door-to-door canvassing can be intimidating and stressful. Take it from Sarah Corbett, a former professional campaigner and self-proclaimed introvert. She introduces us to “craftivism,” a quieter form of activism that uses handicrafts as a way to get people to slow down and think deeply about the issues they’re facing, all while engaging the public more gently. Who says an embroidered handkerchief can’t change the world?
technical tuesday – Epic workshop weekend – Get your ticket today for the Ceramics Congress 2020!!!
Starts in 2 days!
🤩 The Schedule is NOW ONLINE 🤩
Click here to download the Schedule PDF
You can now go and see when your favourite ceramic artists will be hosting their workshops and Q&A’s 🙂
We will be starting on Friday 27th November at:
Melbourne (Australia, AEDT) – 12:00 AM Midnight Friday
Seoul (South Korea, KST) – 10:00 PM Friday
Vienna (Austria, CET) – 2:00 PM Friday
London (UK, GMT) – 1:00 PM Friday
New York (USA, EST) – 8:00 AM Friday
Texas (USA, CST) – 7:00 AM Friday
LA (USA, PST) – 5:00 AM Friday
Then we will be having:
✔ 1 hour workshop,
✔ and then 1 hour Q&A and networking,
✔ Live Music,
✔ Fun Group Challenges,
✔ Open Round Table Discussions,
✔ and repeat for the next 72 hours back-to-back!
As well as the awesome speakers listed above, Hyeyoung Cho will be organizing a whole day to focus on Korea and Korean artists.
We will be having a tea ceremony, Korean workshops and live Q&A’s, studio tours, cooking classes, and some fun challenges too! You won’t want to miss this!
FIND ALL THE INFO HERE!!!
BUY YOUR TICKET HERE!!!
monday morning eye candy: Rich Miller
“Richard’s work makes reference to historical design patterns. It draws on themes of British colonialism and the way in which the U.K. has become an eclectic mix of cultural styles, as immigration has brought with it a rich source of influence. Images associated with the colonies, that have become adopted by the British mainstream are the core influence on Richard’s practice.” via his website @ www.richmiller.co.uk
movie day: Namita Gupta Wiggers Webinar, Betty Feves Ceramics
Educator and curator Namita Gupta Wiggers discusses an important pivot in arts education in the 1930s and 40s exemplified by the ceramics of artist and WSU alumnus Betty Feves. This talk accompanies the exhibition Betty Feves: The Earth Itself at the Jordan Schnitzer Museum of Art at WSU. After the talk, Namita has a conversation with Squeak Meisel, Chair of WSU’s Department of Fine Arts. Questions have been moderated via Zoom Q&A.
call for entry: PLAYING WITH FIRE: Altered Atmospheres
A national juried exhibition of functional & Decorative works
by clay artists who play with fire
juried by Mark Shapiro
March 13 – April 24, 2021
Deadline for Entry: December 4, 2020
CALL FOR ENTRY
Saratoga Clay Arts Center seeks submissions of functional and decorative works by clay artists who play with fire. These works are plucked from altered atmospheres – those changed by wood, smoke, salt or the like. Juror and Massachusetts potter Mark Shapiro writes, “The extent to which firing demands and engages the potter varies broadly, depending on type of kiln, its design, how it is loaded, fired, and even cooled. The continuum from computer-programmed electric top-loaders to gas kilns (in their heating and cooling and reduction cycles), and the many configurations of wood kilns from small “fast-fire” to subway-car length anagamas that fire for a week or more, demand increasing preparation and commitment. Before pots even go into the kiln, there is wood to split, stack, and season, as well as teams of stokers to recruit and organize.
“In physically building the fire and manipulating it as it unfolds—adjusting burners and dampers, varying stoking rhythms and wood types, and playing with the atmosphere—we come closer to the impossible: we stand at the mouth of the forbidden chamber of the glowing kiln and actively alter the surface of our hardening wares. Physically engaging the firing at its source (the burner and stoke ports that make the heat), at the primary and secondary air vents that mix the combustion, and at its exit (manipulating passive and active dampers that control the flow), not to mention introducing sodium or building charcoal, we become palpably connected to the un-survivable interior of the kiln. Our fiddling, stoking, adjusting, and throwing stuff into the fire touches something transgressive, elemental, and essential. These firings perhaps enact the universal myth—Promethean and global—of stealing fire from the gods. We potters are really trying to get away with something.”
Those of you are trying to get away with something, playing with fire, or embracing the unknown gifts of the kiln gods, this exhibition is for you.
FULL DETAILS HERE