by Carole Epp | Apr 14, 2017 | Uncategorized
Margaret Keelan “Pose with Dog” glaze with clay
April 18th-May 13th, 2017
Opening Reception Friday April 28th, 7pm-10pm
The John Natsoulas Center for the Arts will hold its 31st annual gallery-wide 30 Ceramics Sculptors exhibition in concurrence with the California Conference for the Advancement of Ceramic Arts (CCACA). The exhibition will run from April 18th to May 13th, 2017. This show was first conceived in 1986, a collaboration between the late Robert Arneson and John Natsoulas, and continues the ceramic traditions made famous by instructors and students of the University of California, Davis Art Department and the University of California at Berkeley.
Since its inception over three decades ago, the 30 Ceramic Sculptors annual exhibition has grown congruently with the ceramic art world in Northern California. Decades ago there were few major ceramic programs at the Junior, City and State College levels. Today we are experiencing a sculptural renaissance in the ceramics programs of Northern California – new and exciting ceramic sculptors are becoming established.
30 Ceramic Sculptors is the largest annual exhibition of ceramic artists where you can see every variation of ceramic sculpture imaginable. This survey of ceramic sculptors includes everything from figurative to abstract, monolithic to miniature all in one place.
Explore the exhibition and you will discover work as varied as the minds who made it. Some work gives homage to the earth, source of clay, with raw organic texture and emphasis on mass, volume, and dynamic thrust while industrial processes have become the emphasis for others. The 31st annual 30 Ceramic Sculptors brings together an impressive group of ceramic artists with practiced rooted in diverse cultures, experiences and education from around the world.
In conjunction with the 31st annual 30 Ceramic Sculptors annual exhibition is the 29th annual CCACA. This conference brings the
ultimate ceramic sculpture event to Davis, CA from April 28th – April 30th, 2017. In an intimate setting, you can interact with top artists
in a way not possible at other venues. Enjoy delightful downtown Davis and be inspired by nationally recognized ceramic art talents. With over 40 participating schools from throughout California, CCACA is one of the largest and most diverse ceramic events in Northern California. Demonstrations, lectures and student exhibitions—no other event delivers more inspired knowledge of ceramic sculpture for a better price. Meet face-to-face with distinguished ceramic sculptors you might only read about; see and hear from the artists what makes them top in their field. This is a chance to surround yourself with the top ceramic art and artists of today and the ideas of the artists of tomorrow.
Press Contact: Nancy Resler [email protected] 530-756-3938
More information: http://natsoulas.com/
by Carole Epp | Feb 28, 2017 | Uncategorized
Med denne udstilling er der lagt op til et
sceneskift af de helt store på CLAY. Kunstnergruppen VERSUS skaber en
totalinstallation, der iscenesætter deres keramiske objekter i ét
sammenhængende kunstværk. Gennem scenografi og arbejde med lys og skygge
vil publikum blive inviteret ind i et univers, der understreger
objekternes magiske karakter, og giver beskueren en flerdimensionel
oplevelse.
En talisman er en ”magisk genstand”, som
tillægges evnen til at gøre noget godt for den, der bærer den. De har
været brugt i religiøse eller ceremonielle sammenhænge langt tilbage i
menneskehedens historien – og i keramikkens. Faktisk regner man den
ældste kendte keramiske genstand i verden, en ca. 26.000 år gammel
Venusfigurine, for at have været en talisman for frugtbarhed.
Ideen om, at ting kan have særlige egenskaber,
trives også i dag, f.eks. når man har en lykkemønt i kommodeskuffen, et
særligt vedhæng til halskæden, en god sten i lommen eller et mantra, der
messes for at holde styr på den mentale balance.
Kunstnergruppen VERSUS vil med udstillingen
præsentere et bud på en moderne talisman i en keramisk kontekst og
derigennem bringe spørgsmålet om tro og irrationalitet ind i vores
nutidige, rationelle tænkning.
VERSUS består af Ane Fabricius Christiansen, Camille Rishøj Nielsen, Lea Mi Engholm, Mariko Wada og Sissel Wathne.
(via google translate) This exhibition is set for a scene change of the greats in the CLAY. The artist group VERSUS creates a total installation that stages their ceramic objects in one continuous piece of art. Through set design and work with light and shadow, the audience will be invited into a universe that emphasizes the objects’ magical character, and gives the viewer a multidimensional experience.
A talisman is a “magic object” conferred the ability to do something good for the one who wears it. They have been used for religious or ceremonial contexts far back in human history – and in ceramics. In fact, it is estimated the oldest known ceramic object in the world, approximately 26,000 years old Venus figurines, for having been a talisman for fertility.
The idea that things may have special properties that thrive even today, for example. when you have a lucky coin in the dresser drawer, a special pendant necklace, a good stone in your pocket or a mantra that messes to keep track of the mental balance.
The artist group VERSUS will the exhibition present a proposal for a modern talisman in a ceramic context and thus bring the issue of faith and irrationality into our contemporary, rational thinking.
VERSUS consists of Anne Fabricius Christiansen, Camille Rishøj Nielsen, Lea Mi Engholm, Mariko Wada and Sissel Wathne.
claymuseum.dk/udstilling/talisman-magiske-objekter/
CLAY
KERAMIKMUSEUM
DANMARK
Grimmerhus
Kongebrovej 42
DK-5500 Middelfart
+45 6441 4798
[email protected]
by Carole Epp | Feb 6, 2017 | Uncategorized
February 16
–
March 18, 2017
Opening Reception: Thursday, February 16, 6-8 PM
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P•P•O•W is pleased to present
Tie Me to the Mast,
a solo exhibition by Annabeth Rosen, a distinguished sculptor in the
community of West Coast ceramicists. Her work explores the fundamental
properties of
ceramics by directly confronting the aesthetic and chemical
relationships between sculptural form and painterly surface. Rosen’s
formally intuitive process is enabled by a complex understanding of
historical conventions, composite materials, and chemical properties,
placing her work in the tradition of experimental ceramicists including
Peter Voulkos, Betty Woodman, Linda Benglis, and Martin Puryear.
The
exhibition, her first with the gallery, will feature a series of
small-scale ceramic sculptures, elaborate organic forms that reveal
layer upon layer of clay,
glaze, and salt, fired using a ‘salt flux’ technique, which triggers a
self-glazing reaction. A signature innovation to this centuries-old
technique, through this process Rosen mixes surface chemistry into the
body of her work, creating a solid mass whose
glaze rises to the fore during the firing process. Rejecting historical
standards that distinguish decorative arts as ‘perfect’, Rosen’s
practice can be described as an effort to undermine established
conventions about an object’s merit, resulting in an extensive
body of work that embraces the challenges of a robust studio practice:
precarious balance, fissured surfaces, and accumulated fragments.
Among the works on view will be
Roil,
a large-scale sculptural work of individual ceramic forms, piled on top
of one another like layered gestures. Each individual piece is painted,
and together the work takes
on the effect of an abstract painting, ‘framed’ in a custom pedestal
made of metal. Pieced together, the work appears as if in motion, a
swirling, cascading form, seemingly driven by an inner velocity.
Rosen
describes the ceramic process for her as breaking down the barrier
between the visual and sensual. Her works invite not only an aesthetic
evaluation, but a
physical one as well. Creating works that appear as if caught in a
state of motion, the sculptures evoke a visceral response in the viewer,
inviting them to investigate the cracks and cervices visible on the
work’s surface. Interested in the way in which the
clay changes through being worked and formed, Rosen pushes the limits
of the material, building up works, firing them, adding new elements,
firing them again, and so on, exploiting the clay to create cracks in
the surface of the finished work that exposes
the nature of the materials.
“My
work represents a tally of touches that are informed by years of
deliberate working experience,” said Rosen. “My process may allude to a
desire to blur contemporary
experience into something timeless and familiar, like ceramics itself. I
engage in both recklessness and thoughtfulness at the same time,
embracing the awkward and the unfinished, the partial and the raw.”
Though
her works appear organic, found, or formed, masses of clay
un-heroically yielding to the weight of their material, Rosen’s work is
deliberate. Through the
process of creating her ceramic works, Rosen often breaks them, a
practice that she finds as interesting as the creation itself, as it
reveals the possibility and potency of a shard. She fires and re-fires
her work, interested in both the change in material
as the work accumulates mass, as well as the way the physical material
can be negotiated – its limits pushed, while simultaneously pushing the
limits of what a sculpture can be.
Born
in Brooklyn, New York, Rosen received her BFA from NYS State College of
Ceramics at Alfred University and her MFA from Cranbrook Academy of
Art. She was recently
announced as a 2016 recipient of a United States Artists fellowship.
She has been the Robert Arneson Endowed Chair at the University of
California Davis since 1997. Rosen has taught at School of the Art
Institute of Chicago, Rhode Island School of Design,
Tyler School of Art and Bennington College. Rosen has received multiple
grants and awards, a Pew Fellowship, two National Endowment for the
Arts Fellowships, several UC Davis Research Grants, and a Joan Mitchell
Award for Painting and Sculpture. Rosen’s work
is in the collection of the LA County Museum of Art, The Oakland Museum
of Art, The Denver Art Museum, and The Everson Museum, as well as
public and private collections throughout the country.
Annabeth Rosen: Fired, Broken, Gathered, Heaped, Rosen’s first
major survey chronicling 20 years of her work in ceramics and drawing,
will open at the Contemporary Arts Museum Houston in August of 2017. She
is represented by Anglim Gilbert Gallery
in San Francisco.
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P•P•O•W
| 535 West 22nd St. 3rd Floor | New York, NY 10011 US |
ppowgallery.com
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by Carole Epp | Dec 28, 2016 | Uncategorized
Prospectus For 2018 Concurrent Exhibition Proposals
DEADLINE: Wednesday, February 1, 2017 (EST)
52st ANNUAL NCECA CONFERENCE: CrossCurrents: Clay and Culture
Wednesday March 14 – Saturday, March 17, 2018
Pittsburgh, Pennsylvania
Overview
The exhibition and expansion of
contemporary ceramic practice will include diverse approaches to ideas
and senses of materiality involving clay and process. NCECA’s annual
conference is enriched by the innovation and vision that emerges from
our community to present ceramic art of the highest caliber in the form
of Concurrent Exhibitions (CEs). These exhibitions make ceramic art
visible and accessible to communities in which the conference is based.
Concurrent Exhibitions also provide a platform for participating artists
to engage with the global audience of ceramic enthusiasts to expand,
challenge, and celebrate critical and aesthetic horizons of art made
with clay. NCECA promotes Concurrent Exhibitions through the print
conference guide, app, website, Blog and social media. While NCECA makes
efforts to cluster the shows within art/ cultural districts to maximize
viewer attendance, it is not able to guarantee that all exhibition
venues will be included on tour routes.
2018 Exhibitions Focus
NCECA seeks exhibition proposals
that incorporate clay as the principal medium of expression and have
conceptual resonance with the theme of its 52nd annual conference, CrossCurrents: Clay and Culture.
The conference will take place in Pittsburgh, Pennsylvania in March
2018. Cross-currents within Pittsburgh’s three rivers are traversed by
446 bridges. These natural and cultural features are vibrant metaphors
for the intersectionality, significance, and experience of different
cultural constructs. Traditions and innovations coexist throughout the
ceramic medium’s history. Our creative work with ceramic art in the 21st
century can be a catalyst to generate dialog and empathy. When art
grapples with change through underrepresented ideas, new models of
creating, teaching, and learning, it has the capacity to crystalize
experiences of diversity and notions of community. Through these
exhibitions, NCECA hopes to share and promote innovative approaches to
ceramic art that explore and highlight the experiences of diverse
cultures within a dynamic society.
http://nceca.net/concurrent-exhibition-proposals/
