Artist of the Day: Laura B. Cooper
Last month when I was posting about some great Etsy finds I posted some of the work of today’s artist, Laura B. Cooper. You can see that post here. I loved the subtlety of her work, how a minimalist approach to decoration really worked to highten the reading of her forms and textures. So it’s with pleasure that I post some new pieces of hers today. Enjoy!
In her words:
“My name is Laura B. Cooper and I am a ceramic artist based out of Athens, Georgia, where I live with my husband and daughter.
The work I am currently focusing on deals mainly with gestural interpretations of various types of vessels. I am interested in texture, repetition, subtleties, and cadence that can be found in forms. I also find that irregularities which may disrupt the form and throw the viewer off a bit to be very fascinating.”
Make sure to stop by her Etsy shop for more images and to purchase her work.
Artist of the Day: John Dorsey
When you’re away from an academic environment, whether you were there as a student or faculty (i’ve been both and I miss both tremendously) studio practice seems to be so focused on productivity and we (I speak for myself here) rarely afford ourselves the time for creative research, ie: messing about in the mud and trying out fun things with the kilns. When your livelyhood depends on successful firings and pleasing your customers and gallery owners, sometimes we miss out. It’s hard to remind ourselves to play, even a bit each day, as a warm up even. Maybe something I should add to my new years resolution list…
Anyhow I got thinking about this after looking at the remarkable work of today’s artist: John Dorsey and reading his blog dedicated to an interesting collaboration and an even more interesting kiln design…it reminded me of the community spirit, collaboration and fun that I miss from an academic environment. Time for this tired brain to be re-invigorated with a residency I think.
Here’s a bit from the blog:
“Welcome to the Green Fire blog where we will be bringing you the on going story of the Nobles and Harvard kiln building collaboration. This summer ceramic artist Masakuza Kusakabe conducted a workshop where participants helped build his innovative smokeless wood kiln.”
The kiln is a small, woodfired kiln that is smokeless, designed by Masasaku Kusakabe. This project is a unique collaboration between Noble and Greenough School, where John teaches, and Harvard University Ceramics Program, under Nancy Selvage.
And here’s John’s stunning work:
More images of his work are available on his website:
http://johndorseyceramics.com/home.html
In his email John told me that, “This collaboration has really changed my approach to my work. The availability of wood fire is so exciting and the immersion into Japanese ceramics in recent months has significantly charged my batteries. We’ll see where it all ends up.”
Indeed I’ll be looking forward to hearing more from John about the kiln as well as the impact of the collaboration on his studio practice. Please keep us posted John!
Call for entry – 3rd Biennial Contemporary Clay 2010 USA only
Pete Pinnell
January 18, 2010, Entry Deadline
The Western Colorado Center for the Arts will present a juried/ invitational competition of ceramic artists from across the country.
Exhibition dates are May 14th – June 26th 2010
Deadline for entry is January 18, 2010.
Juror will be Pete Pinnell.
This exhibition is open to all clay artists residing in the U.S.
Artists may enter up to three works, which use clay as the focus material. Works must not exceed 48 inches in any dimension (exceptions will be handled on a case by case basis). Works must have been executed over the last two years and not have been previously exhibited at this location. Artwork entered should not be so fragile that shipment or public display is harmful to the work or the viewer. Accepted work which differs significantly from the submitted images will be disqualified from the exhibition. No accepted entry may be withdrawn prior to the closing date of the exhibition.
This is an open jurying: all images are viewed in an anonymous manner. The Art Center encourages all works to be for sale. Artwork must not be sold prior to shipment to The Art Center unless “NFS” is clearly stated on the entry form.
For more information call 970-243-7337, visit www.gjartcenter.org or email [email protected]
Artist of the Day – Jim Gottuso
Well I didn’t get any text with Jim’s submission, but that’s likely because he writes one of the best (and often quite humorous) clay blogs out there and truly you should be reading about him and his work over at Sofia’s Dad’s Pots. I would not be able to do it justice over here. It’s normally my morning read over tea. He shares a beautifully evolving portrait of his life as an artist and father, weaving a narrative around the incredibly detailed and process-oriented pots he creates. I’m sure you’ll be enamored by both his technique and his inspirational daughter.
You can also purchase his work through good old ETSY here.
UPDATE: Here’s some written info Jim just forwarded me to include. Enjoy!
Statement – I am very interested in the complete cycle of creating clay objects. Functional demands inform aesthetics and vice versa creating an evolution that hopefully moves forward to better work. I like the imperfections that occur while aspiring to perfection and am learning to let them be. I do not set out with strict limitations and always allow some wiggle room to let something become something else. Consequently, each object’s creation is different for me and the immense frontier of possibilities keeps me exhilarated and wondering about the unknown results of the coming years of trial and error that all potters eventually get under their belts. For many years I’ve been drawn to certain drawing, painting and calligraphic styles and usually cite artists like Cy Twombly and Mark Tobey as influences along with my perception of Jung’s automatic writing but after many years of not really caring about the origins of influence, I’ve come to believe that I’ve always just been in love with what happens when a brush, pen or pencil makes contact with another surface and using shellac as a resist on dried, unfired clay allows the surface to be etched without losing the immediacy and spontaneity of such brushwork.
Bio – I was born in central NY state and moved south to Kentucky for college. This is when I was introduced to clay. I earned a BFA in ceramics and drawing and went west to Missoula, MT for graduate school. Things didn’t work out financially so after a year I switched universities and majors and spent the next 3 years getting my MFA in sculpture. After that, I moved to Louisville and started two businesses with my very best friend. Although both of the jobs initially allowed me to have a creative outlet, after the companies evolved a little I ended up doing less and less until I was mostly a manager. All this time, the clay was calling and when I found out 5+ years ago that I would be a dad soon, I figured if I didn’t jump in then that it probably wouldn’t happen. In retrospect this was the best decision I have ever made. Aside from doing what I’ve always wanted to for a job, being a potter has allowed me to work from home and be there 24/7 for my daughter and I feel we have all thrived because of this.
China 2010 2nd Shanghai International Modern Pot Art Biennial Exhibition
100 outstanding ceramics artists will be selected by the organizing committee.
High caliber of artists and high quality of art work are selected and screened on the basis of leading fashions and superb quality of creation in market trend. To ensure the uniqueness, the exhibition will adopt the system of initial evaluations and invitation that after the works selection, only the artists with invitations can participate in the Biennial and it aims to ensure both the artistry and originality.
During the Biennial, organizing committee will organize artists can talk about arts and creativity, exchange skills and ideas, which add beauty to the Shanghai 2010 Expo.
I Participation Requirements and Methods
1. The Biennial this year will invite the ceramists from all around the world.
2. The exhibits will be regarded as individual works (Please specify if team works.). It is allowed that every artist/team can have five sets or pieces of art work, two of which will be selected and paid the collection payment after review and appraisal. Please email us the artist’s photo, the pot’s pictures (The photo size is not less than 1024KB, suitable for printing.), personal resume, creativity introduction (for book publication). (The total number of words account of the materials is limited to 300 words.) After the exhibits selection by the organizing committee, the artists who are intended to donate 2 art works and participate the opening cocktail party (with please the attendance number specified and confirmed by individuals or team organization), please fill out the Sign Up Form and Confirmation Feedback with Signature (in scanning) as soon as possible, so that the organizing committee can make the arrangement of unified scheduling for opening ceremony, 4 days and 3 nights of shanghai stay. (Please refer to the following attachments for further details.)During the exhibition all the works will published into a book volume, and to be distributed to the every artists. The exhibits should be the new pieces of work that have not been released or published or exhibited before (it is not limited by form, material or crafts).
3. 2010 2nd biennial is different with previous 2008 1st biennial. For the artist who participated previously in 2008 1st biennial, if you would like to donate one teapot artwork, you will be warmly invited and is entitled to enjoy our 4 days and 3 nights in Shanghai including the opening ceremony, pressing release, one-day tour and so on, free of charge. Like last time, your artwork and your bibliography will be published in our collection book.
4. Referring to the previous amount for teapot collection payment, this 2010 2nd biennial will still follow the high selection with teapot collection payment practice, a specific payment range will be paid to the artist who never been in our 1st biennial, which is determined by top standard with artistic quality of artworks.
5. No matter the artist participated our 1st biennial or not, as long as the teapot is really fantastic and outstanding artwork that reaches the requirement of organizing committee, no doubts that we really would like to pay the collection payment appraised on the committee, which is determined by top standard with artistic quality of artworks. If the artist would not able to join our biennial in Shanghai in person, he could deliver his teapots to Shanghai by postal service. ( post fee thus caused will be taken care of by artist own). If the artwork had been selected and accepted, the collection payment is sure to be deposited and wire-transferred to the artist’s personal bank account; the same goes to the collection book and any certificates by postal service. Please leave your detailed address and bank account in your application form.
6. Theoretically, we prefer one artist from one country with two artworks. Hope you could understand it seems a bit competitive but it’s fair because the collection payment for purchasing the artwork is dictate by the artistic and quality of artworks. As long the standard of artworks meets the requirement of organizing committee, the collection payment range could be seriously discussed. The organizing committee pays high attention to the high standard of artwork with artistic quality. All the artists participated in this exhibition will enjoy the Biennial for free. The selected exhibits will be collected by the committee of the China 2010 2nd Shanghai International Modern Pot Art Biennial Exhibition, and conferred and awarded the Acceptance Certificate and Collection Certificate. (If the artists do not intend to donate his or her ceramics, please make a statement in advance. Posting or mailing back the ceramic works is born on the artist’s own expenses or the can bring it back with artist himself.)
7. It is both applicable whether the selected works are to be posted or mailed to organizing committee by the end of February, 2010 (postal costs born on artists themselves); or they are to be brought by artists themselves. Please be sure to take delicate care on its packaging and not to be broken or spoiled it, otherwise it will influence the exhibition effect.
8. The copyright of all the exhibits belong to the committee of the China 2010 2nd Shanghai International Modern Pot Art Biennial Exhibition. The committee has the right of publicizing, dissemination, publication and exchange with international ceramic works.
Itinerary: 4days, 3 nights, food, logistic and accommodation, free of charge
April 27, flight receiving, – unchanged
April 28, exhibition, opening ceremony, press release, cocktail party, etc. – unchanged
April 29, one day tour in Shanghai,
April 30, seeing off.
II Other Matters
1. If the works is considered as a copy which results in the matters of piracy or plagiarism, all the responsibility is taken by the artist himself. The committee does not have to do with it.
2. All the collected pot art work will be exhibited in Shanghai Arts and Crafts Museum, and meanwhile the museum will make some dissemination, publicity and promotions.
3. A professional Press will publish the China 2010 2nd Shanghai International Modern Pot Art Biennial Exhibition for the works selected.
4．The committee of the 2010 Second Shanghai International Pot Art Biennial Exhibition holds the explanation right of exhibition participation rules.
III Sponsor:
Shanghai Arts and Crafts Association,
Shanghai Arts and Crafts Museum,
IIII Co-organizer:
Ceramic teapot of Yixing Sand Culture Research Institute affiliated to China ceramics Culture Research Center,
Shanghai Arts and Crafts Research Institute
Shanghai Arts and Crafts Society
Shanghai Industrial Design Association
Shanghai Arts and Crafts Vocational College
“Shanghai Arts and Crafts” Magazine
V Organizer:
Shanghai SUNTAO Co., Ltd.,
Shanghai Handicraft Zhujiajiao Exhibition Center,
Ge, Jvn website: www.gejun.com.cn
IV Supporting Institution:
Shanghai Fast Quality Translation Office，
，
IIV Duration of Exhibition:
From April 28th — May 28th
IIIV Venue of Exhibition:
Shanghai Arts and Crafts Museum,
IIIIV Date of Deadline Sign Up: By the End of Dec., 2009.
VV Contacts for Exhibition Works & Signing Up:
Institution: Ceramic Teapot of Yixing Sand Culture Research Institute affiliated to China Ceramics Culture Research Center
Contact Person：Anna Zhang, Carrie Chang
Email：[email protected] [email protected]
Msn: [email protected]
Skype：xiaoqian.sh
QQ: 1041412939
Tel: 86 21 6483 9312 / 86 136 0177 6548 / 86 139 1699 3839
www.gejun.com.cn
VVI Contacts for Exhibition Works Postal:
Address: Building No.317, Wuning Rd., (S.), Shanghai, 200042
Contact: Mr. Ge, Jvn
Email：[email protected]
TEL：+86 -21 -5256 2133
FAX：+86 -21 -5256 2511
Did you know…
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…that Alfred University (actually more specifically through The Schein-Joseph International Museum of Ceramic Art) has as an online resource the previous Dorothy Wilson Perkins Lectures? Yup, your free access to some incredible lectures given by some of the big names. Check it out:
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2008
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10th Annual Lecture: “Making A Mess: Ceramic Sculpture Now” |
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2007
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9th Annual Lecture: “Once a Potter, Always a Potter” |
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2005
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8th Annual Lecture: “The Aesthetic of Process – and Beyond” |
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2004
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7th Annual Lecture: “Marginal Powers: Ceramics and the Art World” |
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2003
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6h Annual Lecture: “Crawling through Mud: Avant-garde Ceramics in Postwar Japan” |
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2002
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5th Annual Lecture: “Marguerite Wildenhain: Inspirational and Passionate About Her Craft” |
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2001
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4th Annual Lecture: “Social Complexity and the Historiography of Ceramic” |
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2000
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3rd Annual Lecture: “Ceramic Paradigms and Paradigms for Ceramics” |
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1999
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2nd Annual Lecture: “Faux and Real Folk Art: the Story of Mingei” |
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1998
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1st Annual Lecture: “Between a Toilet and a Hard Place: Is the Ceramic Avant Guard a Contradiction in Terms” Visit the website here to read all of the lectures.
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