by Carole Epp | Mar 8, 2018 | Uncategorized
(in)Visible is a show by the group “We Are Not Invisible,” a community of artists hoping to break the silence within our world, in particular the clay community, and engage in honest discussions and education about sensitive and often taboo topics, beginning with an exhibition during the 2018 NCECA (National Council on Education in Ceramic Arts) conference in Pittsburgh PA.
Our Statement – As the 2016 election year and beyond have highlighted, deep currents of belief, experience, and culture divide our world. This exhibition highlights female and gender non-binary artists working in ceramics, who in some way feel invisible to the dominant culture. These artists represent a marginalized group in the field, often unrecognized and belonging to specific groups of race, gender, culture, religion, and/or physical and mental illnesses (commonly termed as “invisible”). For each of us, art is our voice and our way to make seen and heard what we are all too often told to keep silent about.
What We’re Doing – (in)Visible is not simply a show. As part of NCECA 2018 we will be represented on two panel discussions, and have both Facebook and Instagram pages that feature artists from all media and genres beyond the original group in an effort to bring even more voices to the conversation.
The Show: NCECA 2018 Concurrent Exhibition: (in)Visible
Location: Braddock Carnegie Library, Pittsburgh Pennsylvania
February 2- March 17, 2018
reception March 16, 5-9pm
Braddock Carnegie Library 419 Library St, Braddock PA
hours: T — Th 11-8, M, F 10-5, Sat 9-4
The Panels: NCECA 2018
Thursday March 15, 1:15pm-2:45pm Spirit of Pittsburgh Ballroom A. PANEL: THE ART OF OTHERNESS, Moderaator: Courtney Leonard Panelists: Habiba El-Sayed, Mac McCusker, Raven Halfmoon. The Art of Otherness features the experiences of ceramic artists who face challenges of belonging to a marginalized culture through ethnicity, religion and gender identity. This panel seeks to challenge diversity, and offer real solutions in tackling cultural invisibility in the ceramic community.
Thursday March 15, 4:00pm-5:00pm 301-303. PANEL: UNSPOKEN, UNSEEN: INVISIBLE, Moderator: Sarah Jewell Olsen Panelists: Sara Morales-Morgan, Jamie Bates Slone, Ashleigh Christelis. Being a working artist is difficult enough without facing the social and personal obstacles of a mental or physical illness. This panel aims to end the stigma and silence and start a conversation about mental and physical health with the artistic community, out of the shadows of invisibility.
T-shirt’s! We have T-shirt’s! Thingsmadegood.threadless.com is helping us out with the design (above) and the shop.
Website: www.wearentinvisible.org
Instagram: @wearentinvisible
by Carole Epp | Mar 6, 2018 | call for entry
The Warren MacKenzie Advancement Award, founded in 2014 with Northern Clay Center, provides an opportunity for students and emerging artists to continue their ceramic research and education for a period of up to twelve consecutive months within the grant year, further expanding their professional development. This award is available to current undergraduate or graduate students, recent graduates (within one year), or those who have completed a university-equivalent training in ceramics (including apprenticeships) within the year prior to the application deadline.
During the grant year, the recipients can research a new technique or process, study with a mentor or in an apprenticeship setting, travel to other ceramic art centers or institutions for classes and workshops, collaborate with artists of other media, and travel. Proposals to fund large capital equipment purchases will not be accepted. Between one and three cash awards will be made in 2018, up to $4,000 each, for projects taking place between May 1, 2018, and April 30, 2019. Recipients contribute project updates to Northern Clay Center’s social media and are required to give a public presentation at their school or other institution. See updates from past recipients at northernclaycenter.blogspot.com.
Applications for the 2018 Warren MacKenzie Advancement Award are due by 5 pm on Friday, April 13, 2018.
The Warren MacKenzie Advancement Award is made possible through the support of generous individual and institutional donors in honor of MacKenzie’s legacy of ceramic education, both traditional and non-traditional.
For more information and to apply, visit: https://www.northernclaycenter.org/artist-services/artist-fellowships/warren-mackenzie-advancement-award
If you have questions, contact Jill Foote-Hutton at [email protected]
by Carole Epp | Feb 28, 2018 | movie day
‘I make every element wet on my momentum wheel using very soft clay, then assemble the pot while still on the wheel. I like using soda glazing to achieve an effect that I believe expresses both the creative spirit of clay and my connection to the physical elements.’
In this film, potter Ruthanne Tudball discusses the processes and ideas behind her distinctive soda-glazed teapots.
Discover more inside Ceramic Review issue 290, which features Ruthanne’s full step-by-step masterclass. You can order current and back issues of the magazine from ceramicreview.com.
Film by Layton Thompson for Ceramic Review.
www.ruthannetudball.com
by Carole Epp | Feb 27, 2018 | Uncategorized
An annual pop-up exhibition taking place the first weekend in March.This show features a prized collection of handmade mugs by extraordinary international potters and ceramic artists.
Raymonds Restaurant
95 Water Street, St. John’s, NL
Saturday and Sunday, March 3rd and 4th, 2018
Noon to 3 pm each day
alexistempleton.com/shows/march-of-mugs/
by Carole Epp | Feb 26, 2018 | monday morning eye candy
“My interest for the history of Ceramics and its industrialization gave life to my Remade/Refabriqué au Canada series. I use antique porcelain tableware imported from England that was long perceived as a luxury and a sign of sophistication. I integrate a typically Canadian imagery to the original motifs found on the pottery whilst adding a personal touch to them. A little in the way of the graffiti artists who appropriate the public space, I also play with contrasts by appropriating images already known to me and then divert them from their original sense. This interpretation work gives way to singular pieces that clearly situate themselves as contemporary through their aesthetical qualities. I play with the appropriation of known images and their re-contextualization as a way to divert from their original sense and to surprise and challenge the viewer.”
mariannechenard.com
