movie day: Arrowmont Craft Conversations: Mark Errol, Ceramics artist
Last Chance to Join Northern Clay Center’s 2020-21 MN NICE Cohort
With additional options available to license space the studios at NCC, and limited work-exchange opportunities, apply to become part of the next cohort beginning in-person (with appropriate safety strategies) this September, 2020.
Now entering its seventh year, MN NICE is a rigorous program developed in collaboration with Program Head Ursula Hargens. MN NICE provides personalized professional development for artists who are serious about taking the next step in their ceramic evolution. The program is designed to respond to the changing needs of emerging makers with high-level training and mentorship in ceramic materials, history and theory, and professional practice. Through innovative instruction and individual mentorship, artists build skills, knowledge, and insight.
MN NICE includes weekly intensives as well as artist lectures, gallery tours, and studio visits with established artists to take advantage of the rich ceramic resources throughout the Twin Cities. The program strives to support emerging artists both artistically and professionally.
The program consists of three 8-week blocks, beginning in September and ending in May. During each block, the group meets for weekly seminars and visits to museums, galleries, artist studios, and lectures. Throughout the year, participants have individual coaching sessions with leading professionals in the field, helping them to focus their research and development of work. The program culminates with the submission of a portfolio and a group exhibition in NCC’s Emily Galusha Gallery.
If you have questions about the history of MN NICE or joining next year’s cohort, please make Samantha Longley, Education Coordinator your first point of contact at [email protected] or call her directly at 612.339.8007 x309
Deadline: Limited time to apply.
Learn more & apply: https://www.
job posting: Assistant Professor, Hite Art Institute, University of Louisville
Contemporary Ceramics, Assistant Professor, Term Appointment
Department of Fine Arts, Hite Art Institute, University of Louisville
The Department of Fine Arts at the University of Louisville welcomes applications for an Assistant Professor, Term Appointment, in Ceramics beginning Fall 2020. The successful candidate will hold an M.F.A. in Ceramics, and provide strong evidence of an emerging scholarly profile. The preferred candidate will present a clear knowledge of theoretical discourses, contemporary practices, and global trends in contemporary ceramics practice, with both the hand built and thrown vessel as well as ceramic sculpture . Faculty selected for the position will be expected to teach at undergraduate and graduate levels in fine art and participate fully in the mentoring of our M.F.A. students.
Full details HERE.
technical tuesday: Sculpting with Johnson Tsang
Penland launches Artists for Equity Scholarship Fund.
via Penland website:
“Over the past few weeks, we’ve been thrilled to hear a strong demand for more opportunities for Black artists and students of color at Penland.
This desire has already resulted in the addition of three new summer 2021 scholarships to our list of scholarships for people of color. They were funded by Penland’s staff, team of directors, and Board of Trustees, respectively. Our staff wanted to make these opportunities as accessible as possible, so each scholarship will cover 100% of tuition, room, and board and also include a stipend for travel and materials.
At the same time, we’ve heard from lots of you, our friends and students and instructors, about wanting to donate to a similar scholarship fund. We’re pleased now to give you that opportunity through the new Artists for Equity Scholarship Fund. The goal of this fund is to increase opportunities for artists of color who would otherwise not have access to Penland due to funding.
In a caring and generous community like ours, even small gifts compound to make a big impact. A single scholarship won’t change the face of the craft world, but it can absolutely open up new possibilities for an individual and start creating the momentum we need to reach a more equitable, inclusive community at Penland and beyond. Please join in with a gift and help bring new artists and new voices to our community!”
Contribute to Artists for Equity
Find out more about Penland HERE.
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.
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