call for entry: The Cup Show 2017 @ Clay Arts Vegas

PROSPECTUS is the link below:

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Las Vegas Nevada’s Clay Arts Vegas is pleased to host “the CUP show 2018” an international juried art exhibition, January 4 2018- February 24 2018 in the Victor F. Keen Gallery, at Clay Arts Vegas in Las Vegas, Nevada. “the CUP show 2018” will feature functional and sculptural cups, tea bowls and mugs.
The cup maybe the most intimate of ceramic objects. We caress it in our hands, raise it to our delicate lips and imbibe the fluid of life. Be part of our annual juried show and have your cup seen in Las Vegas. Tall, small, tea bowl or handle each cup is a work of art created to entice the soul of the drinker.

Deadline: November 17, 2017. Participation is open to all artists 18 years of age or older. Work submitted must be original, must use clay as the primary material, must specify firing technique(s) and size, and must have been completed within the last 2 years. All cups must be functional and food safe

Jurors come from Clay Arts Vegas Staff with invited guest juror and featured artist Lelani Trinka

Peter Jakubowski (Clay Arts Vegas Gallery Supervisor, hand building instructor, Education Advisor and Design Expert) Peter comes to fine art and sculpture through an extensive theatre design back round having received his BA in theatre from SUNY Buffalo and an MFA in design from Temple University. Clay started as a medium for him to develop props and masks and has morphed into a wide variety of forms from functional to sculptural. His ceramic work has been seen in gallery shows in the south west and is in private collections around the globe. He focuses on an exploration of the natural beauty of clay. His work is often characterized by the use of oxided washes, raw clay and heavy organic textures.
He has extensive teaching experience having been a tenured professor of design and has over 25 years of experience as a professional lighting and scenic designer. His theatrical experience is seen in his work as he plays with the use of positive and negative space to create a sense of visual movement and theatricality in his pieces. He works in a variety of other art mediums and enjoys sculpture, lapidary, and silver-smithing. His initial love of clay developed from the study and collecting of traditional South East folk pottery.

Guest Juror and Featured Artist: Leilani Trinka is a ceramic artist, specializing in hand built objects with a functional approach. She works exclusively in porcelain. Her work is small in scale, highly detailed and meticulously handcrafted yet playful in character. The pieces work as part of a set or collections but every object is a unique, one of a kind entity.
Drawing her inspiration from both the natural and the manmade, Leilani is enthused by detail, pattern, texture, familiar forms and diminutive size. Through her work, she aspires to make a connection with the viewer and entice them to interact with the objects she makes; for the pieces to be held, examined and used.
Born and raised in Hawaii before traveling the world, Leilani finally stopped in South East Asia in 2002. She currently lives in Singapore, where she is a practicing artist and a supply teacher at the British International, Tanglin Trust School. She is also a mother to Kaimana and a wife to Chris.
Leilani’s work has been exhibited internationally including England, Wales, Singapore, Australia, Germany, Canada and throughout the United States.

Awards
There will be a $200 award for best of show.
Entry Requirements and Procedures
An artist may enter up to 5 works, up to 2 images per work.
There is a non-refundable jury fee of $35 total for fist three works entered additional pieces maybe entered for $10 per piece, payable at http://clayartsvegas.bigcartel.com/ or by credit card or check.
Images must be JPEG, at 300 dpi (suggested minimums: 800 pixels in either direction, with maximum file size of 1.0 MB). Each JPEG image must be titled with the artist’s last name, first name, entry number, and “detail” if you are including a detail image

Important Dates
Exhibit Dates: January 4, 2018 to February 24, 2018
Entry Deadline: November 17, 2017
Juror Results: November 21,2017
Accepted Art Work to be Delivered to CAV by: December 18,2017
Hand Delivered Work to The Clay Arts Vegas: December 18,2017
Opening Reception Best of Show Announcement: First Friday January 5,2018
Pick Up Art Work: February 28, 2018 between 10-5pm @ CAV

Help Save Inspirations Studios

 

From their funding page: “We are heartbroken to share that Inspirations Studio is facing imminent closure.  For 23 years, the ceramics-based program has supported hundreds of low-income women who have been impacted by poverty, homelessness, addiction, trauma, and mental health issues.

You can learn more about the program here.
As we look for stable funding and a new partner, we are asking for public donations to keep the program alive.  Our target of 60K will sustain the program through 2018, in conjunction with funds we are anticipating from the City of Toronto and those received already from an anonymous donor.  Together this support will secure studio rent, bills, materials, and skeleton staff so the current members can sustain their essential income, continue to access a safe space to be creative, and maintain a sense of meaning and purpose.  As one member told us, “Inspirations saved my life.”
Although we aim to reach our target and sustain the Studio for one year while we find long-term funds, any amount raised will help extend the program beyond 2017 and support the participants.  Any and all donations represent a success and will benefit the women. “
Visit the organizations website here: https://inspirationsstudio.org/inspirations-studio/
Article about the Studio in the Star.

online workshop: The Head in Clay with Cristina Cordova

Because of the slow, gradual unfolding of a clay sculpture it is often hard to relay the full arc of a piece from beginning to end in the traditional workshop context. This course will offer an intimate vantage point to study and understand all of the steps, tools and materials that come into play to create a clay head. With the methods showcased in this course and the open floor chat sessions between demonstrations to answer questions you will be fully empowered to create clay heads of different scales in your own studio. This course includes supplemental printed material that follows the course structure and several opt-ins to customize your experience.

Curriculum:

VIDEO MODULE 1: Before We BeginTools, Materials and Workspace Setup

VIDEO MODULE 2: Sourcing Anatomical References

VIDEO MODULE 3: Hollow Construction With Easy Patterns At Any Scale

VIDEO MODULE 4: The Skull Basics

VIDEO MODULE 5: Adding Features and Introducing Tools

VIDEO MODULE 6: Tricks and Techniques for Refining and Cleaning the Face

Registration: http://travel-arte.squarespace.com/new-page-1

movie day: Armour by Keegan Luttrell

Individual protections, once made of iron, were meant to defend their owner and improve human capacities. They would shape the body to act as a second layer, define one’s identity and belonging, and maybe, repulse the adversary. From head to toe, covered by her all-in-one, how would Joan of Arc feel wearing her “victorious” harness while marching on Paris?

The inhabitants of an armour chose whether they wanted it to be light and adherent or massive and constructing, either allowing a greater rapidity of movement but with less efficiency or defensive but rigid and heavy, constricting the range of action. In each case, the protection reveals its fragility.

From chainmail to bulletproof vests or tribal face tattoos, the defensive shields made a long way since the heavy overalls and took diverse outlines. Kevlar, polyethylene of molar mass, light metal, ceramic plates or ink; materials and forming varied and evolved regarding mobility and clinging functions to such an extent, that they tend to become imperceptible.

Keegan Luttrell extends this investigation field to other forms of protection or self-defense. Her interest focuses exactly on the invisiblearmours, involved in a daily context. The ones we wear on facial features or disguised under gestures and behaviors.

Through her analysis and in the exhibition taking place, they become tangible, as to allow a closer observation, as if we could even try them. Face lines converted into ceramic pieces strengthened by fire and shattering if mishandled. These fine bone structures are here engaged in a ritualized course, their brittles taken by fluids and movements, turning back into sediments, as the objects are activated by their dissolution.

-Marie DuPasquier

keegan-luttrell-mj0h.squarespace.com