Tag-team
demo and round table discussion with all three artists, Saturday,
November 21st from 9:30a – 3:30p at Trax Gallery. Seats are limited,
advance registration with $175 cash or check.
Brief overview:
Manage day-to-day operations of the School of Art, Design and Creative
Industries studio arts (Ceramics, Sculpture, 3D Design, etc.) work
spaces, and equipment including but not limited to:
•Maintain an organized inventory of materials, tools, and equipment
coordinating supply ordering and expenditures with program area faculty.
•Ensure safe use of equipment and proper handling/storage of materials; maintain updated Material Safety Data Sheets (MSDS).
•Support faculty and student learning and research through technical assistance and training.
•Train and supervise undergraduate students and graduate student assistants.
•Work periodic evenings and/or weekends to accommodate operations requiring technical support.
•Teach practicum-level courses in best practices in equipment use,
materials handling/storage, health and safety for the studio arts.
•Other duties as assigned.
Communicate and collaborate closely with School of Art Design and
Creative Industries faculty, students, and staff within an energetic
learning environment.
Ceramic artist Peter Pincus created 88 cups for Studio KotoKoto’s third
anniversary event. These beautiful and lovingly handmade cups will be
available online on October 16th 2015 at 9:00 a.m. PST
How does one take over a company that is four centuries old and has
been run by one’s father, his father’s father and so on. Here is the
unique story of such a time capsule where we witness how a modern-day
Japanese family that has transformed everyday pottery into the world
famous mythical Kakiemon porcelain and preserves its traditions, now
passes on the leadership to their only son. Is he up to the task that
lies ahead? What’s at stake if this successor does not succeed?
Kakiemon, one of the most refined types of porcelain, was developed
in the 17th century by ceramist Sakaida Kakiemon. Today, the production,
entirely handmade and handpainted is still owned by his direct
descendants. Keeping this tradition alive is more than just reproducing
craft. It is somewhat a statement against modernity end massproduction.
After periods of isolation and expansion, wars, nuclear bombs and now a
devastating earthquake, this Japanese family is clinging to tradition –
no matter how fragile it is.
