The Canadian Clay & Glass Gallery is calling for submissions to the 2021 Winifred Shantz Award for Ceramics. In order to be considered, applications for the award must be received electronically by Friday, April 30, 2021.
This prestigious national award allows practicing emerging ceramic artists to undertake a period of independent research, or other activities that advance their artistic and professional practice. The winner of the Award will receive $10,000. The selection is made by a jury comprised of respected contemporary ceramic artists and other arts professionals.
The winner and up to five finalists will have their work featured in a group exhibition at the Canadian Clay & Glass Gallery from September 2021 to January 2022. The exhibiting finalists will receive an artist fee commensurate with the current CARFAC Fee Schedule. The Award will be presented at the opening reception, held at the Gallery in Waterloo on Sunday, September 26that 2:00pm. Transportation and accommodation will be provided to the winner, as required. In order to be eligible for the Award, applicants must be available to attend the reception on September 26th and be prepared to make a brief artist talk. All details related to the exhibition and reception are subject to change according to relevant COVID-19 restrictions including dates, attendance, location, and possible online formats. The winner and finalists will be notified in early June.
To apply to the Winifred Shantz Award for Ceramics, you must be a Canadian citizen or have Permanent Resident status, as defined by Citizenship and Immigration Canada. You must also meet our definition of an emerging professional artist, which is an artist who:
has maintained a professional practice for five to ten years as of the application deadline date. Professional practice typically begins upon completion of a college or bachelor’s degree in ceramics. If alternate circumstances apply, demonstrate how you identify as an emerging artist in the cover letter portion of the application;
has developed skills through training and/or practice in the field;
operates or has consistent access to a ceramic studio;
has a body of work that incorporates a public presence and peer recognition; and
seeks payment for their work and has an active and engaged practice
Nurielle Stern, winner of the 2019 Winifred Shantz Award for ceramics, was invited by Tony Marsh, Director of the Center for Contemporary Ceramics at California State University, Long Beach, to be a visiting artist at the Center in 2020. Of her experience, Nurielle stated:
The Winifred Shantz Award combined with a Canada Council Arts Abroad Grant afforded me the opportunity to travel for this residency in order to produce large-scale ceramic sculptural pieces. During this residency, I was able to access the school’s amazing facilities to create ambitious work beyond what would be possible in my Toronto studio. It was a unique opportunity to learn from and receive feedback from peers and to make international connections with other visiting artists and become familiar with some of the galleries and museums in L.A. The CSULB Center for Contemporary Ceramics is a high profile residency, and I’m incredibly honoured to have been chosen for this opportunity. My fellow artists in residence in winter 2020 included Simone Leigh, Heidi Lau, and Sharif Farrag, among others. Many thanks to Tony Marsh, the Shantz Family and The Keith and Winifred Shantz Fund for the Arts, the Canadian Clay and Glass Gallery, and the Canada Council for the Arts.
The Winifred Shantz Award for Ceramics is supported by The Keith and Winifred Shantz Fund for the Arts, held at Kitchener Waterloo Community Foundation. This prestigious $10,000 award allows practising early career ceramic artists to undertake a period of independent research, or other activities that advance their artistic and professional practice. The winner and up to five finalists are also included in a group exhibition at the Gallery.
Past recipients of the award truly represent the best of the emerging ceramic artists in Canada. Joon Hee Kim of Oakville, Ontario was the winner of the 2020 Winifred Shantz Award for Ceramics. Click here to learn more about winners of the award in past years.
About Winifred Shantz:
The late Winifred Shantz was a driving force for the arts in Waterloo Region for more than 40 years. A successful ceramist, entrepreneur and visionary philanthropist, she was committed to finding ways to enable artists to reach their full potential.
Online Application Closes: March 31st, 2021 (midnight) Entry Fee: Members: Free | Non-Members: $10 for 3 entries reduced for 2021 due to exhibition being online only Notification Begins via Email: April 15th, 2021 Exhibition Dates: May 1st – May 31st, 2021
Specifications:
The application is open to all artists 18 years and older. An artist may submit 1-3 original works, which have been completed in the last two years. Works not gallery-ready or not exhibiting good craftsmanship, may be omitted from the exhibit. Accepted works that differ significantly from the entry images or suffer from poor presentation will be disqualified.
Work may not exceed the dimensions of L–6” W–6” H–8” (including handle) or weigh over 2lbs, accurate weight is required.
Images should be submitted as jpegs and sized at 300dpi and 10 inches (3000 pixels) on its shortest side. Files should be labeled first name_last name_entry number (e.g. John Smith would be john_smith_2.jpg).
Media Restrictions:
Drinking vessels (cups, mugs, yunomis, tankards, tumblers, goblets, tea bowls, etc.) must be made primarily from clay and 100% functional with food safe glazes. Work may not exceed the dimensions of L–6” W–6” H–8” (including handle) or weigh over 2lbs, accurate weight is required. All exhibited work must be for sale. Selected pieces must be available for the duration of the exhibition.
Notification:
Notification of accepted works will begin April 15th, 2021 through email. Artist’s contracts, label information and other documents will be included as attachments and must be returned prior to the show.
Opening Day:
Opening day will take place online at savannahclaycommunity.com on May 1st, 2021 and all work will be displayed until May 31st, 2021.
Shipping and Insurance:
The artist is responsible for the shipping and insurance of the work. Shipped works must be sent within a week of purchase notification. Artists will be informed of purchase no later than June 1st, 2021. No artwork may be removed from the exhibition until after the conclusion of the show.
Documentation:
On acceptance, the organizations and individuals retain the right to reproduce images all works displayed in the exhibition, regardless of copyright, for promotional or educational purposes. Images may be used for documentation, sales, promotion and publicity.
Entry Fee:
SAVCC members can apply for free. (Learn more about membership through our website.) Non-members pay $10.00 for up to 3 submitted works. Application fee should be submitted online with completed application at http://www.savannahclaycommunity.com/application.html Savannah Clay Community will retain 10% from the retail price of any works sold during the duration of the show for continuing our mission and 10% for donation to the Emmaus House (see below).
The submitted entry form signifies the artist’s understanding and agreement with the terms and conditions stated herein.
Emmaus House:
The Emmaus House provides food and day services to the homeless and needy of Savannah and hosts the Annual Empty Bowl Event in November. Continuing on the theme of Empty Bowl, we want to use the ceramic arts to remind the community that the hungry should be considered year-round.
Contact Information:
Jessica Broad | Savannah Clay Community [email protected]
Applications for 2022 Arts/Industry residencies will be accepted February 1–March 14, 2021. Apply Here
Arts/Industry has been doing something remarkable for over 40 years—connecting artists with the resources, technology, and materials of Kohler Co., and providing a place to explore new ideas, processes, and perspectives. Artists from all disciplines are encouraged to apply.
Each year, up to twelve artists are selected for residencies in the Pottery or Foundry areas of the factory through a competitive jury process. No experience with clay or cast metal is required, just an interest in pursuing a new body of work and being open to new ideas.
Arts/Industry residencies are three months in length and divided into three cohorts. There are four artists-in-residence in each cohort‑two in Pottery and two in Foundry. Residents are expected to commit to the full three-month period.
Artists-in-residence receive 24-hour access to studio space, industrial materials, use of equipment, technical assistance, photographic services, housing, round-trip transportation, and a modest weekly stipend.
The John Michael Kohler Arts Center is committed to a policy of nondiscrimination and equal opportunity for all persons regardless of race, sex, color, religion, creed, national origin or ancestry, age, marital status, sexual orientation, gender identity, and gender expression.
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.
