call for entry: Zanesville Prize for Contemporary Ceramics

by | Feb 25, 2014 | call for entry, emerging artist, job posting, monday morning eye candy, movie day, residency opportunity, show us your influences, technical tuesday

Total Prizes: $30,000
Best of Show: $20,000
1st Place: $5,000
2nd Place: $3,000
3rd Place: $1,000
Honorable Mention: $500 (2)
The Muskingum County Community Foundation
(MCCF) in cooperation with the Potters Council, Zanesville Ohio Ceramic
Arts, and the Artist Colony of Zanesville is seeking entries in
functional, sculptural, and tile ceramics.
JURORS

Three jurors will jury the competition:
Sherman Hall (Editor of Ceramics Monthly) (Columbus)
Brad Schweiger (Professor of Art at Ohio University) (Athens)
Angelica Pozo (Ceramic Artist) (Cleveland)

ENTRY QUALIFICATIONS

Entrants: Open to all ceramic artists worldwide.

There will be up to 100 pieces chosen.
The recommended size of work is a base of no more than 16’’ wide or deep
and a height of not more than 31’’ tall. Works may be larger than the
recommended size, but the artist must pay for return shipping if the
larger piece does not sell. Shipping costs of international works to be
returned to a destination other than an address in the United States
must be paid by the artist.
No ceiling-suspended works will be
accepted. Only very limited on-site assembly of multi-part works will be
possible. Works must be made primarily of ceramic materials and be
predominantly the work of the artist. The artwork must be no more than
two years old on the date of entry.
CALENDAR
     Opening date for submissions: January 15, 2014
     Deadline for receipt of entries: July 15, 2014
     Notification of acceptances: August 15, 2014
     Delivery of accepted works: September 15-22, 2014 (including hand delivery)
     Exhibition Dates: September 27 – October 12, 2014
A fee of $40 (check or money order USD)
covers up to three (3) entries. Checks are to be made out to MCCF and
must be drawn on a US bank payable in US funds. Artists of entries
selected for the competition will be notified by e-mail, so be sure to
include your e-mail address. If you wish to be notified by regular mail,
please include a self-addressed stamped envelope. You may also submit
your entries online at the MCCF website at www.mccf.org.
SALE
MCCF will insure all works for the
duration of the exhibition. All entries will be for sale. MCCF will take
a 30% commission on the price of each work sold.
SHIPPING
The artist is responsible for all
shipping costs and shipping insurance. There is no loading dock at the
show location so if the works are shipped by truck, they will need to be
shipped on a truck that has a lift gate. Please pack ceramic work
accordingly. Unsold items will be returned in same shipping container
and shipped to the address on the application. MCCF will pay the return
shipping costs for all unsold items of the recommended size or smaller.
The shipping costs of larger works and works shipped outside of the
United States are the responsibility of the artist.
Accepted works must be delivered September 15 – 22, 2014

SUBMISSION REQUIREMENTS

Format: high-resolution JPEG image, at
least 300 ppi, on CD or flash drive (if submitted by mail) or uploaded
through the online entry form. All submissions must be on CD or flash
drive or uploaded through the online entry form; no slides, prints or
submissions by email.
● IMPORTANT:
Begin each file name with the surname of the artist, followed by
first name, and name of work (example: smith_john_bluevase.jpg).
● IMPORTANT:
Include the printed entry form with the CD or flash drive. Begin
each file name with surname of the artist (example:
smith_john_entry_form).
Limit of three entries per artist. Maximum of two views of each entry may be submitted.
●  IMPORTANT:
For multiple views, please label them consistently. (example: smith_john_bluevase1.jpg and smith_john_bluevase2.jpg).
● IMPORTANT:
Include the statement on the CD or flash drive. Begin file name with surname of the artist (example: smith_john_statement).
Each entrant must
additionally include a short description of the techniques used and what
influenced the creation of this work on the CD or flash drive in
.doc(x) or .pdf format.
If you do not follow submission requirements, your entry is subject to disqualification.

Download a PDF version of the Zanesville Prize Call for Entries that includes the Entry Form.

You may also submit your entries online at the MCCF website at www.mccf.org.

http://zanesvilleprize.org/

emerging artist: Caleb Zouhary

by | Feb 22, 2014 | call for entry, emerging artist, job posting, monday morning eye candy, movie day, residency opportunity, show us your influences, technical tuesday

“The
inspiration for my work comes from food presentation.  People go to great lengths to present their
meals in an eloquent manner, and my work serves to aid in their presentation
through the form, function, and surface treatment of my wares. I reference specific
foods when creating my functional vessels, and I work to create a form that
will compliment that meal to its fullest potential.  My ceramic vessels are based on traditional
forms, but as the designer, I am able to alter them in ways I think will enhance
their functionality.  I further the idea
of presentation in my work by finishing the pieces with colors and patterns
that will compliment the food being served with them.”

www.calebzouhary.com

emerging artist: Marah Gaiti

by | Feb 16, 2014 | call for entry, emerging artist, job posting, monday morning eye candy, movie day, residency opportunity, show us your influences, technical tuesday

 

artist statement:
 
 As human beings we are innately social and
communal. We seek each other out, interact with one another, and respond to
both our environment and each other.  Our
relatives, friends and the people we interact with on a daily basis are all
part of the social unit that shapes our environment. 
I was born
and raised in Venezuela and from a very young age my family often traveled
within and outside of our home country. At the age of nine my family members
began moving to the United States a few at a time, where we were completely
submerged into a different culture. During the move, some family members moved
back and forth between Venezuela and the US , creating a flux of family members
in our household. My exposure from a young age to change in my surroundings,
family and home  arouse my interest in
the ideals of family and community.
In
my ceramic work, each piece  is a
community. The high relief areas represent the environment, the driving force
in the community. Each carved line is an individual within the community,  interacting with one another, responding to
both the environment and each other. Together the lines create units. Units
coming together to create a whole.

website: marahgaiti.com

emerging artist: Tilly Troelstrup

by | Feb 8, 2014 | call for entry, emerging artist, job posting, monday morning eye candy, movie day, residency opportunity, show us your influences, technical tuesday

Tilly Troelstrup- Artist
Statement
What interrupts it? A line
carries on its course until its environment jars its path, forcing the line to
adjust if it wishes to continue. I layer line drawings on ceramic pots to
represent the adjustments and changes we all experience in our relationships to
people, places and things.
The ways that clay naturally
responds to manipulations creates an environment for my line drawings to
respond to. By embracing the handmade qualities of clay and its sensitivity at
varying stages, an unintentional dent early on becomes a valley for a line to
cross at a later stage. This open minded practice creates opportunities for my
most present emotions during making to present new ideas, based on the freedom
to express real time. 
A strong interest in writing has
led to the discovery of wonderful correlations between the poetics of ceramics
and the romance of verbal expression, both highly capable of creating a
response unique to each user. Contemporary graffiti, spoken word,
disintegrating architecture and fleeting emotions during high stress all
influence a passionate affair with reflection, in order to best be present in
the moment.
By reflecting on my life’s
lessons in abstract patterns on pots, my forms have come to hold a geography of
the heart on their surface. Each pot tells a story of an experience whose
resulting lesson becomes the story. These experiences to be had are unique to
each person, and highly personal, but the larger lessons we learn come to be
much the same. It is my hope that viewers are drawn to the abstracted surface
and as they follow it around the pot, they reflect and inherently agree to
play. The quiet that consumes them as they follow the line is a rare serenity
my pots offer viewers, for but a moment, in our constantly rushing society.