emerging artist: Jim Slicer
job posting – Studio and Fabrications Manager @ Greenwich House Potter
Greenwich
House Pottery is hiring a Studio and Fabrications manager and we want
to cast as wide a net as possible for potential applicants. I have
attached a
pdf of the job description to this email and hope that you might help
us spread the word. If you know of anyone who might be interested or can
pass this along to interested parties that would be appreciated.
House Pottery is hiring a Studio and Fabrications manager and we want
to cast as wide a net as possible for potential applicants. I have
attached a
pdf of the job description to this email and hope that you might help
us spread the word. If you know of anyone who might be interested or can
pass this along to interested parties that would be appreciated.
GHP is hiring a Studio & Fabrications Manager to begin March 1, 2014.
This is a full-time salaried position with an great benefits package.
GHP is a dynamic ceramic facility in the center of the artworld. This is a high-energy and demanding job within a strong ceramic community with a highly engaged and active faculty and staff.
Applications will be reviewed on a first come first serve basis. Interested applicants email
[email protected] with a cover letter, cv and 10 digital images in one pdf document no larger than 5mb.
Visit our website for a more detailed job description. “GHP Studio Manager Position Description”
Please preview the pdf prior to submitting an application.
http://www.greenwichhousepottery.org/gh_pottery/resources
Qualifications:
• Master of Fine Arts in Ceramics or equivalent
• Knowledge of community based arts education programs
• Knowledge of ceramic studio operations, ceramic processes including glaze chemistry
• Knowledge of
building/repairing studio equipment including kilns, potter’s wheels,
slab rollers, clay mixing equipment, spray booth and all studio related
equipment
• Slip-casting and Mold-making experience
• Strong organizational and communication skills
• 2-3 years experience as a studio technician/manager
• 2-3 years supervisory experience
• Must be able to repeatedly lift 50+ pounds
• General computer skills, including word processing, e-mail
• Budget planning and oversight skills
I appreciate your help spreading the word.
Thanks
Adam Welch
Adam Welch
Director
Greenwich House Pottery
16 Jones Street
New York, New York 10014
call for entry: Edible Provisions
February 13 – February 24, 2014
Opening reception February 12 @ 530 – 7PM
NSCAD Port Loggia
Bridget Fairbank is a Nova Scotian food activist concerned about food, aren’t you? Edible Provisions is
a collection of cutting edge work from various Artists working in
various mediums that address how and what we eat today. The works
exemplify the complexities of our eating in an epoch where dinner is
dubious.
a collection of cutting edge work from various Artists working in
various mediums that address how and what we eat today. The works
exemplify the complexities of our eating in an epoch where dinner is
dubious.
Curatorial Statement – Edible Provisions
It
has come to my attention that there are many artists making work about
food. These artists are actively questioning how we manufacture, grow,
procure and eat every day. There is a rich history to mine when it comes
to food relations sensual, domestic and industrial. I propose a call to
students and alumni who make such food oriented work for a group
exhibition: Edible Provisions. This past year I have seen ceramic
sculpture meat cuts hanging from rafters, portraits of people’s
fridges, pottery for the seasonal splendor and prints of farm machinery
that beckon questions of Cold War technology- all talk about our current
and crucial relation to food.
has come to my attention that there are many artists making work about
food. These artists are actively questioning how we manufacture, grow,
procure and eat every day. There is a rich history to mine when it comes
to food relations sensual, domestic and industrial. I propose a call to
students and alumni who make such food oriented work for a group
exhibition: Edible Provisions. This past year I have seen ceramic
sculpture meat cuts hanging from rafters, portraits of people’s
fridges, pottery for the seasonal splendor and prints of farm machinery
that beckon questions of Cold War technology- all talk about our current
and crucial relation to food.
At
NSCAD now Sandra Alfoldy is teaching a seminar on craft and food a
marker of the relevancy of such an exhibition. Dine by Design is this
week, Hungry Bowls the next, Art and Food Activism are linked as ever.
We have the opportunity now to showcase such work going on at NSCAD. Edible Provisions
would bring together the many ideas, experiences and critiques of food
culture into a single exhibition space complicating the food
conversation in a dynamic visual manner.
NSCAD now Sandra Alfoldy is teaching a seminar on craft and food a
marker of the relevancy of such an exhibition. Dine by Design is this
week, Hungry Bowls the next, Art and Food Activism are linked as ever.
We have the opportunity now to showcase such work going on at NSCAD. Edible Provisions
would bring together the many ideas, experiences and critiques of food
culture into a single exhibition space complicating the food
conversation in a dynamic visual manner.
The
use of the gallery space is highly dependent on the works submitted and
their individual requirements and group requirements, all will be
managed by me as curator/coordinator and all managed in such a way to
deepen the conversation about food and the facets there in embracing and
showcasing the many opinions we have in regards to food carnivores,
omnivores, vegans and vegetarians, fast foodies, foodies, industrialists
and small scale farmers alike. The intent of the exhibition to make us
think about food.
use of the gallery space is highly dependent on the works submitted and
their individual requirements and group requirements, all will be
managed by me as curator/coordinator and all managed in such a way to
deepen the conversation about food and the facets there in embracing and
showcasing the many opinions we have in regards to food carnivores,
omnivores, vegans and vegetarians, fast foodies, foodies, industrialists
and small scale farmers alike. The intent of the exhibition to make us
think about food.
Please note: The
PortLoggia is an open space gallery that students have access to at
night with out security and in no way will I or NSCAD/AnnaLeonOwnes
Gallery be responsible for damage or theft, the gallery is however
equipped with 24hr video surveillance.
Shipping to and from the gallery will not be subsidized.
PortLoggia is an open space gallery that students have access to at
night with out security and in no way will I or NSCAD/AnnaLeonOwnes
Gallery be responsible for damage or theft, the gallery is however
equipped with 24hr video surveillance.
Shipping to and from the gallery will not be subsidized.
“I am very
excited about this show and know that so many of your blog readers make
work while thinking about food. As an odd side project to make the show
more feasible for non-Haligonians I’d be happy to accept mugs from your
readers and mail them a mug of mine in exchange at no cost. That way the
mug is displayed and in the show and becomes part of my collection as a
trade!” – Bridget
monday morning eye candy: Charlotte Lindley Martin
2014 Workshops at Penland now online
“Penland School of Crafts is a national center for craft education located
in North Carolina’s Blue Ridge Mountains. Penland’s focus on excellence,
its long history, and its inspiring, retreat setting have made it
a model of experiential education. The school offers workshops in
books and paper, clay, drawing and painting, glass, iron, metals,
photography, printmaking and letterpress, textiles, wood, and other media. Penland
sponsors artist residencies, a gallery and visitors center, and
community education programs.
in North Carolina’s Blue Ridge Mountains. Penland’s focus on excellence,
its long history, and its inspiring, retreat setting have made it
a model of experiential education. The school offers workshops in
books and paper, clay, drawing and painting, glass, iron, metals,
photography, printmaking and letterpress, textiles, wood, and other media. Penland
sponsors artist residencies, a gallery and visitors center, and
community education programs.
Each year approximately 1200 people come to Penland
for instruction and another 14,000 pass through as visitors. Penland
has no standing faculty; its instructors include full-time studio
artists as well as teachers from colleges and universities. Students
live at Penland and take only one class at a time allowing them
to learn by total immersion–the ideas and information gained in
a two-week session might take a year to absorb and process.
for instruction and another 14,000 pass through as visitors. Penland
has no standing faculty; its instructors include full-time studio
artists as well as teachers from colleges and universities. Students
live at Penland and take only one class at a time allowing them
to learn by total immersion–the ideas and information gained in
a two-week session might take a year to absorb and process.
The school has also become the focal point for a lively community of
craft artists, thanks in part to the resident program which has
encouraged many artists to settle in the area. The student experience
is greatly enhanced by the presence of so many nearby studios.
craft artists, thanks in part to the resident program which has
encouraged many artists to settle in the area. The student experience
is greatly enhanced by the presence of so many nearby studios.
Students come from all walks of life. They range from 19 to 90 years of age
and from absolute beginners to professional craftspeople. Some see
Penland as a productive retreat, some as a source of inspiration
for their personal creative lives, and others as a place to exchange
vital information about material, technique, and process. What brings
them all together is a love of materials and making, and the often
transformative experience of working with intensity and focus in
a supportive community atmosphere.
and from absolute beginners to professional craftspeople. Some see
Penland as a productive retreat, some as a source of inspiration
for their personal creative lives, and others as a place to exchange
vital information about material, technique, and process. What brings
them all together is a love of materials and making, and the often
transformative experience of working with intensity and focus in
a supportive community atmosphere.
Penland School began out of a strong belief in a few simple values. Penland’s founder, Lucy Morgan
summarized these as “the joy of creative occupation and a certain
togetherness-working with one another in creating the good and the
beautiful.” For more than seventy-five years, these principles have
guided a remarkable institution which has had a pervasive influence
on American craft and touched the lives of thousands of individuals.
summarized these as “the joy of creative occupation and a certain
togetherness-working with one another in creating the good and the
beautiful.” For more than seventy-five years, these principles have
guided a remarkable institution which has had a pervasive influence
on American craft and touched the lives of thousands of individuals.
Penland School of Crafts is a nonprofit, tax-exempt
institution.”
institution.”
View a full list of upcoming workshops here.
Take my Illustrative Pottery Workshop with the Ceramics School
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