by Carole Epp | Sep 27, 2021 | call for entry
Calling for teapot submissions! The Juried Functional Teapot Show II will be at NCECA in Sacramento next spring. Jurors this year are: John Neely (@neelyjc), Cooper Jeppesen (@cooperjeppesenceramics) and me.
Functionality is foremost in our decision-making process and we will try to pick a diverse range of teapots to show. We will choose just 10 teapots. And this year’s guest artist will be Pete Pinnell!
You have until October 23rd to email your submission. Send to: [email protected]. Up to 3 pictures of a single teapot (the exact one you would like to show), title, size, clay, firing/decorative method and price. No cost to submit. Spread the word!
Oh also, the teapot pictured here was made by Cooper Jeppesen and was part of the inaugural JFTS.
by Carole Epp | Aug 18, 2021 | residency opportunity
We are now accepting applications for 2022. The deadline to apply is September 15, 2021.
We are seeking professional artists working at a high level in their discipline who can give new insights and focus to Grand Canyon and the surrounding communities as an on-site resident artist at Grand Canyon National Park.
We welcome applicants from a wide variety of artistic disciplines, including visual art (two and three-dimensional, photography, sculpture, painting, textiles, drawing, or collage), installation or land-based art, printmaking, audio (performance or composition), film (documentary, fictional, or art), writing (poetry, fiction, essays, storytelling, or playwriting), indigenous arts, ethnographic fine art, new media, performance art (choreography, dance, or theater arts professionals), social practice, and interdisciplinary arts.
While no specific requirements will be placed on the content or direction of the artists’ proposals, applicants must have an idea of direction, topic, and the project they will work on while during their residency when they apply. Projects may evolve and change during their residency as long as the new direction also has relevance to the canyon or its communities and meets all other program requirements and NPS guidelines.
While in residence, artists will be encouraged to work collaboratively with NPS staff and to make use of the many resources NPS will make available to them, including but not limited to: access to park staff and researchers, access to park collections, access to park library, access to trails and backcountry opportunities as is possible at time of residency.
Artists must, in their application, be able to articulate how their project would contribute to our understanding of Grand Canyon (in its broadest interpretation). Evidence of some preliminary research and understanding of the canyon is expected. Artists are not required to adhere to official park themes. However, if you wish to use them as guidance for your inspiration, you can find them on the park’s website.
Full details HERE.
by Carole Epp | Aug 3, 2021 | call for entry
Belonging Curated by Angelik Vizcarrondo-Laboy
Hosted by:
Crocker Art Museum
216 O Street
Sacramento, CA 95814
www.crockerart.org
(916) 808-7000
ENTRY DEADLINE: Wednesday, September 8, 2021 (11:59pm MDT)
EXHIBITION DATES: February 20 – May 8, 2022
ABOUT THE 2022 NCECA ANNUAL
Belonging, the 2022 NCECA Annual exhibition will be one of the cornerstone events of the upcoming conference in Sacramento, California. The Crocker Art Museum will be dedicating more than 4,000 square feet of space to the exhibition’s installation. Curator Angelik Vizcarrondo-Laboy has invited artists Alex Anderson, Natalia Arbelaez, Cannupa Hanska Luger, Salvador Jimenez-Flores, and Habiba El-Sayed whose works will ground key concepts while generating an expanded framework for inclusion of works by additional artists that will be selected through an open call for submission. Writing about her organizing ideas and motivations for the exhibition, Angelik Vizcarrondo-Laboy shares the following:
A sense of belonging implies an affinity or connectedness with a place, social or cultural group. Belonging is survival. It is a powerful feeling that shapes our identity. While achieving a sense of belonging is fulfilling when realized, it can be a laborious and even painful endeavor otherwise. Belonging strongly signifies spatial relationships, from navigating new territories to remaining rooted in formative places long vacated. Efforts to balance attachments to past and present spaces may evoke nostalgia and dissonance. Many also seek a connection to their ancestors and their land despite distance. Voluntary and involuntary migration has profoundly impacted millions’ sense of belonging through disrupted lineages, loss of material culture and narratives, and disconnection from land. Belonging explores the intangible and tangible approaches we engage in developing and maintaining our sense of connectedness across time and space. Belonging also relates to ownership or possession, an interpretation that has caused much harm to humans, non-human species, and natural resources. This exhibition seeks to upend normalized power dynamics by prioritizing humans’ desire to belong to something instead of things belonging to them.
Acceptance or lack thereof also intertwine with a sense of belonging. Identity forms at the intersection of race, ethnicity, gender, sexuality, and class, among other categories. While these markers can be keys to unlocking a sense of belonging, we may experience rejection and exclusion without the embrace of others. An affinity to any entity also necessitates bearing the weight of associated histories and realities. For example, belonging to the United States constitutes acknowledging that we live on Indigenous land, its brutal history of slavery, continuous misogyny, xenophobia, transphobia, homophobia, and systemic racism that disproportionally affects Black and Brown people. At the root of these issues lies the negation of belonging towards particular groups of people, namely people of color, LGBTQAI, and women, as dictated by colonialist and patriarchal white supremacist ideals. The exhibition Belonging will also showcase the coded ways in which we navigate inhospitable environments, push back against oppressive systems that deny belonging, and the role of community in fostering inclusion.
ABOUT CURATOR ANGELIK VIZCARRONDO-LABOY
Angelik Vizcarrondo-Laboy (She/Her) is a New York and Los Angeles-based curator, writer, and arts administrator of contemporary art and craft. Her current research focuses on the subversive power of humor, cuteness, and leisure as tools of protest. Amplifying the voices of BIPOC artists is central to her practice. She serves as Assistant Curator at the Museum of Arts and Design (MAD), New York. She has helped the curatorial team organize over twenty exhibitions since 2016, including 2021’s Craft Front & Center. She also oversees MAD’s Burke Prize, a prestigious contemporary craft award. Recent projects include exhibitions Sleight of Hand (2020) at the Center for Craft, North Carolina, where she was a 2020 curatorial fellow, and Clay Is Just Thick Paint (2020) at Greenwich House Pottery, New York. She has also contributed to Cultured and American Craft magazines and catalogs at MAD and the Bemis Center for Contemporary Arts, Nebraska. She earned her MA from the Bard Graduate Center, New York, in Decorative Arts, Design History, & Material Culture.
ABOUT THE CROCKER ART MUSEUM
The Crocker Art Museum features the world’s foremost display of California art and is renowned for its holdings of European master drawings and international ceramics. The Crocker serves as the primary regional resource for the study and appreciation of fine art and offers a diverse spectrum of exhibitions, events, and programs to augment its collections, including films, concerts, studio classes, lectures, children’s activities, and more. The Museum has also dedicated the historic building’s entire first floor as an education center, which includes four classrooms, space for student and community exhibitions, the Gerald Hansen Library, and Tot Land. It is the only museum in the Sacramento region accredited by the American Alliance of Museums (AAM), a recognition given to fewer than 1,100 of the nation’s 33,000 museums. AAM accreditation certifies that a museum operates according to standards set forth by the museum profession, manages its collections responsibly, and provides quality service to the public.
Full details HERE.
by Carole Epp | Jul 20, 2021 | call for entry
Open to Coffee Mugs, Cups, Goblets, Tumblers and other drinking vessels which use UNDERGLAZE.
2021 Juror: Michelle Ettrick
“I was a non-English speaking 13-year old when I arrived in the United States in 1982. Life in Brooklyn, New York was a stark contrast to my early memories of Panama and the simple joys of climbing trees and playing with my friends while my mom was nearby hanging clothes on the line. As an Afro-Latina, I struggled to find a community that would accept me and where I felt I belonged. My own identity was regularly challenged by others who judged me by the texture of my hair or the fact that I spoke Spanish fluently and struggled to communicate in English. When judged by adults and my peers, my hair was “too good” to be considered black and the color of my skin was too dark to be speaking Spanish. In addition to the hardships, I have many fond memories of my time in New York. Brooklyn is where I learned about double dutch and cooling off from the New York summer heat in the open fire hydrants.
I love being a maker and clay is my medium of choice. Clay is a very personal material to me. When I put my hands in the clay and my fingers get lost in the mixture, for the moment, we become one. I stretch pull, pinch and form shapes where I leave evidence of my having been there. I follow up by drawing on my work where I embrace my natural curly hair, heritage, womanhood and at times current worldly struggles. My artwork is a record of my experiences as an Afro-Latina American.”
-Michelle Ettrick
Material Mugs is our annual material based cups show and this year we will again be featuring underglazes! Our hope is to exhibit cups which express the full range of surface possibilities- underglazes that are trailed, painted, sprayed, transferred, washed, globbed on, inlayed etc.
Now in its sixth year, Material Mugs is one of the most anticipated juried ceramics exhibitions by makers and collectors alike. This will be the 3rd juried exhibition at our new location.
The exhibition is open to cups using every type of clay, temperature, and atmosphere, just as long as underglazes are used in the process.
Companion Gallery will be printing custom t-shirts designed by Michelle Ettrick and the entire exhibition will be available for sale online.
The exhibition opening will be held at our new location on Friday September 10th
Companion Gallery 3600 East Mitchell Street, Humboldt, TN, as well as ONLINE at companiongallery.com.
Participating artists will each receive a complimentary t-shirt designed by 2021 juror Michelle Ettrick.
companiongallery.com/call-for-entries/
