call for entry: The International Museum of Dinnerware Design’s Fourth Biennial Juried Exhibition
Breakfast
Exhibition dates: April 10 – August 28, 2021
Opening reception Saturday April 10, 2021, 1 – 4 p.m.
Location: Museum on Main Street
Part of the Washtenaw County Historical Society
500 N. Main St., Ann Arbor, MI 48104
Entry Deadline: January 31, 2021
Entry Fee: $35 per entry/piece (with a maximum of 3 images per entry) payable by check or PayPal
This exhibition is about celebrating the first meal of the day, breakfast. The intention of this juried exhibition is to showcase the best in contemporary dinnerware as it relates to the theme Breakfast, either functional cereal bowls, toast racks, batter bowls, syrups, toasters, egg cups, shirred egg servers, juicers, butter dishes, coffee pots, tea pots, or related breakfast paraphernalia, or a sculptural work relating to breakfast, no larger than 18” in all dimensions, as created by artists and designers in all media from the United States and Canada. Accepted design drawings should be no larger than 18” x 24” drymounted ready for installation. The International Museum of Dinnerware Design is the only museum in the world devoted to the subject of dinnerware, international in scope, no material limitations, including functional ware, ancient to futuristic, and fine art referencing dinnerware.
Eligibility and Rules:
No media restrictions. Open to all artists and designers in the U.S. and Canada. Each entry must demonstrate the artist’s/designer’s personal interpretation of the theme “breakfast” whether that be in the form of a functional piece or sculpture or design concept model or drawing. Work should be no larger than 18” in all directions (except in the case of design drawings). Entries will be juried on creativity/innovation and artistic merit/aesthetics. If an entry is a functional piece, then one of the images must include actual breakfast food in or on the work. No wall pieces will be accepted except in the case of accepted design drawings, which must arrive drymounted and ready for installation and should not exceed 18” x 24.” All work must have been completed in the last two years. Work submitted may not include perishable materials. Please include the dimensions of the work, as well as materials, along with a brief biography and artist’s/designer’s statement about this particular work. The work does not need to be for sale; however, the the International Museum of Dinnerware Design will retain a 30% commission on any work sold during exhibition.
Juror: Ursula Hargens
About the Juror: Ursula Hargens is a ceramic artist and educator based in Minneapolis. She received an MFA from the New York State College of Ceramics at Alfred University; an MA in Art & Art Education from Columbia University, Teachers College; and studied ceramics at Nova Scotia College of Art & Design. She is a three-time McKnight Artist Fellow, has received additional awards from the Jerome Foundation and the Minnesota State Arts Board. Most recently, she was named 2020 Ceramic Artist of the Year. Ursula has been teaching art for many years and is co-founder and Program Head of Minnesota New Institute for Ceramic Education (MN NICE), an advanced certificate program in ceramics, developed in 2014 in partnership with Northern Clay Center.
Application deadline and fees:
Application forms (which include information such as artist/designer name, contact information, description of the work, materials, dimensions, and whether it’s for sale) can be submitted via mail or scanned into an email. Get Entry Form. Submit with (a) high resolution digital image(s) (via email) and include information about each image. Also include an artist’s/designer’s statement and brief biography. Artists/designers will be notified of acceptance of work by February 15, 2021. Accepted work must be received no later than March 1, 2021. Design drawings accepted into the exhibition must be received drymounted on foam core ready for installation.
Juried from digital image(s) (email [email protected]) Images must be high resolution.
Entry fee: $35 per entry
FULL DETAILS HERE
call for entry: Officine Saffi Ceramic Awards
Officine Saffi awards those artists who have chosen ceramics as their main expressive language for a research between contemporary art, collectible design and craft. Now in its fourth edition, the competition is open to all contemporary artists and designers of any age, whether emerging or established, individuals or members of collectives, and with no restrictions on theme, gender or nationality. Up for grabs € 10,000 and 8 Residency prizes.
WHO: Ceramic artists worldwide
LOCATION: Residency prize locations include: The Netherlands, Denmark, Switzerland, Italy, Japan, and Finland
DEADLINE: November 30, 2020
FINE PRINT: During registration, each artist must indicate which residency prizes they intend to compete for (all prizes are open to them). Nevertheless, if an artist wins a residency award that they cannot take up for proven reasons, the partner will assign it to another finalist. The work which wins the cash first prize will become part of the Officine Saffi collection. Entry Fee: €50 for artists over 35, €30 for artists under 35. Learn more here.
monday morning eye candy: Susan Day
Make and Do online sale this weekend!
movie day: Magdalene A.N. Odundo x TEFAF
“Every work by Magdalene A.N. Odundo is a miracle of making: a modestly-scaled pot with the presence of grand architecture; a simple silhouette achieved through a complex technique; a putatively functional vessel that operates at the level of abstract sculpture; a discrete object sitting in space with anchor-like firmness, which nonetheless traverses multiple worlds.
Odundo’s way of bridging opposites has deep biographical roots. She is a cosmopolitan figure, born and raised in Kenya but resident mostly in England since 1971. In that year, she came to study graphic design in Farnham, Surrey, where she encountered Michael Cardew, the great exponent of modern studio ceramics. He encouraged her to travel to his Pottery Training Centre in Nigeria. There she met Cardew’s close associate Ladi Kwali – a traditionally-trained Gwari potter, and an inspirational figure for Odundo. Over the years, she has traveled back to her homeland of Kenya, to San Ildefonso Pueblo in New Mexico, to India, China, and Japan, studying forms and hand-building techniques wherever she goes.
Odundo has forged an idiom equally informed by all these experiences, as well as the formal intelligence of modern sculpture. Her vocabulary is tightly defined, materially speaking – coiled earthenwares, in tones of black, beige and red – but extremely capacious in expressive terms. Her pots have been described (by the Metropolitan Museum of Art) as “simultaneously familiar and novel,” an apt way of describing the way that she alludes to her sources – ancient vessel forms, and the contours of the human body – while also making them wholly her own.
Odundo has been revered in ceramic circles for decades, but only now is she getting the broader recognition she has long deserved. She serves as Chancellor of her old art school in Farnham, has been made Dame Commander of the Order of the British Empire, and in 2019, was celebrated in the exhibition Journey of Things at the Hepworth Wakefield and the Sainsbury Centre, which set Odundo’s work alongside carefully selected historic works. (The designer Duro Olowu acutely observed that her pots were “almost like visitors to the show, who had decided to stay put.”) More importantly still, she is continuing to work at the height of her powers. After presenting her work at TEFAF, Salon 94 will stage an exhibition of new vessel forms – the artist’s first exhibition in New York for many years. It will be an opportunity for American audiences to witness first-hand this most magisterial of all ceramic artists, who presides over her medium like a guiding spirit.”
monday morning eye candy: Jessica Villegas
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