Gaku Shakunaga: New Pyramids in Black / Yufuku Gallery, Tokyo
Gaku Shakunaga: New Pyramids in Black / Yufuku Gallery, Tokyo July 10-19, 2014
Gaku Shakunaga (b. 1978) creates swirling stoneware pyramids drenched in luscious black glaze accentuated with lacquer. One of the younger ceramists of Yufuku, Shakunaga represents the future of Japanese ceramic sculptors, of artists who are not afraid to create non-functional ceramics that are devoid of function, and are challenging conceptual objects that are modes of expression as well as outlets for the artist’s aesthetics. Having graduated with a degree in sculpture from the leading Tokyo University of Arts, the most prestigious of art universities in Japan, Shakunaga’s new works find the artist combining the forms of his previous Sekiso series with his new-found muse in black.
Each and every Shakunaga work is comprised of individual clay slabs of varying thickness that are flattened using boards and are stacked upon one another in layers. Each slab is torn from a larger slab of clay using his hands, which leaves a rugged texture to his surfaces. His clay is a mixture of local Toyama clay, porcelain clay, and the Mogusa clay used in Shino ware. After an initial bisque-firing, a black glaze is air-brushed onto the surfaces, and the work is fired again in a gas kiln. In the final stages, Shakunaga sandblasts the surfaces of his works, and then polishes the surfaces and then low-fires the work to create a shimmering bronze-like lustre to his surfaces. Shakunaga’s technique is unique, and is the materialization of his fascination with stacking clay pieces together as if composing architecture.
The upcoming exhibition will display approx. 15 new works in both black and bronze glaze, and will be the artist’s largest body of new work since his previous exhibition in 2012.
Gallery hours: Tuesday to Saturday, 11 am - 6 pm. Final day closes at 4 pm.
With its magnificent Harbour backdrop and glorious weather, Sydney is a fabulous city for spending a day (or several) dropping in and out of art galleries. You can choose between major players, like the Art Gallery of New South Wales and the Museum of Contemporary Art, where you’ll be treated to masterpieces and significant temporary exhibitions, and independent laneway affairs, where you’ll get the chance to acquaint yourself with specialised collections and local artists. Here’s a hand picked selection of the best places to go.
The Art Gallery of New South Wales Perched on the edge of the domain and just a stone’s throw from the Harbour, the Art Gallery of New South Wales (or AGNSW) is housed in a gorgeous nineteenth century building, featuring expansive rooms and high ceilings. There are some great hotels in Sydney near it. The permanent collection is impressive, including a wide range of Australian works, plus there’s a constantly evolving program of temporary exhibitions, special events and talks. Between November 2014 and March 2015, for example, the gallery will host Australia’s biggest ever Pop Art showcase, displaying works from lenders all over the world. Featured artists will include Andy Warhol, David Hockney, Roy Lichtenstein and many others. The AGNSW is open seven days a week between 10am till 5pm. Entry to the permanent collection is free, but there’s sometimes an admission fee for temporary exhibitions.
The Museum of Contemporary Art A fifteen-minute walk from the AGNSW will get you to the Museum of Contemporary Art (or MCA), situated right on Circular Quay. You can see the Harbour Bridge and Opera House from the front steps (and from the top floor bar, should all the art-perusing work up a thirst!). The MCA is the only museum in Australia that’s 100 percent committed to contemporary art. Its permanent collections and visiting shows are sourced from both within Australia and all over the planet. It is open every day between 10am and 5pm. Entry is free, though you might have to pay a small fee for special exhibitions.
Karlangu Aboriginal Art Centre Before Europeans invaded Australia, the Indigenous population had been making art for at least 60,000 years and perhaps much, much longer. So an artsy visit to Sydney wouldn’t be complete without dropping into the Karlangu Aboriginal Art Centre (129 Pitt St, City). Here, you can wander through one of the best Aboriginal art collections to be found anywhere. The Centre also plays a vital role in the distribution and promotion of Indigenous art by supplying it to various galleries, museums and private buyers both domestically and internationally. It’s open daily between 10am and 5pm.
White Rabbit One of the world’s largest and most important collections of contemporary Chinese art is held at White Rabbit, which you’ll find hidden away in the inner city suburb of Chippendale, at 30 Balfour Street. Established by Kerr and Judith Neilson, the gallery specialises in art created since the turn of the millennium. In excess of 400 artists are profiled and new additions are being made all the time. Plus, there’s a lovely teahouse, which is the perfect place to take a break after you’ve spent hours browsing. White Rabbit is open between 10am and 5pm, Wednesday through to Sunday.
Brett Whiteley Studio This was the workplace and home of one of Australia’s most famous artists, Brett Whiteley. He passed away in 1992 and, since 1995, the AGNSW has run the space as an art gallery. Complete with unfinished artworks, book collections, paintbrushes and a graffiti wall, it presents an unusual opportunity for an intimate experience of Whiteley’s life. The studio is located at 2 Raper Street, Surry Hills (not far from White Rabbit) and opening hours are 10am-4pm, Friday to Sunday.
“Up until two years ago, my father, Yaakov, had an agricultural mechanization workshop. Every time I visited the workshop, I found myself entranced by the power of the iron boards and the pile of black and rust colored iron pipes of different diameters, waiting to be used”, Simcha Even-Chen reminisces.
“When I saw the call for entries for the contest and exhibition at Kapfenberg, Austria, entitled “At the Moment”, I decided to use these memories of my father’s workshop. This was the birth of “A Moment Before…” a work I created in 2009, which has since led to the growth of a whole body of works”.1
A moment before…, 2009, Mixtures of stoneware and porcelain, 11.5 x 30 x 24 cm.
The memories that awakened this body are the evolution of the artistic research Even-Chen had been immersed in during the period of 2006-2009. This group of sculptures, entitled “Illusion”, was exhibited at The Fifth Israeli Ceramics Biennale at The Eretz Israel Museum (2008), among other places, and even received the Gold Coast International Ceramic Art Award. The article that appeared in the biennale catalogue read: “Simcha Even-Chen creates arrays of objects, reminiscent of game pieces. The pieces and geometric shapes simulate complex mathematical relations, based on scientific principles of simplification, alongside an awareness of the complexity of the game”.2
In her works from the period of 2009-2010, as her research progressed, the cubic shapes and structures gained a softer sculptural presence. They were positioned on solid, dominant foundations, where the first, barely noticeable signs of a light, flowing motion began to appear. In a piece named “Triple Balance” (2010), the massiveness and relatively harsh geometry of the top object is softened somewhat by the gentle presence of the foundation, which seemingly serves as only that, but its connection suggests an integrated statement, alongside a message of contrasts. This piece was featured in important exhibitions in Italy and Korea.3
In the piece entitled “Motion” (2011), all the elements of movement and flow can for the first time, be seen in the object itself, while the pattern printed on the object surface continues to explore the geometric shape, namely, the grid, which stands out against the background of evenly hued material. This piece was awarded first prize in an exhibition in Slovenia.4
Motion, 2011, Mixtures of stoneware and porcelain, 25 x 46 x 25 cm.
“My decision to add the element of movement to the existing physical balance gave birth to the open, broad, flowing motions and expanded the variety of imaginary shapes”, says Even-Chen. Her intentional break-away from defined shapes gave way to a new abundance of form, organic and free. The well-defined lines of geometric shapes were unleashed, and became the flowing lines that outline the movements of a dance, in which the body of the dancer is pushed to its limit. The flowing lines move in circles, twist, constrict and expand again. They face the material’s ability to carry itself to the limits of its natural properties.
While her earlier works studied the foundations of the material, these works examine its potential to reach infinity. Even-Chen’s work tests the material’s point of collapse, asking which points need to be supported to prevent the structure from breaking down or falling. This constant fear of collapse can be seen even now, when the sculptures are fired and stable. Their fragility is present in each and every moment. Within this fragility lies a hidden power: the almost inconceivable resilience of gentleness.
All of Even-Chen’s works address the tension between that which is planned and that which is not; between the expected and the unexpected. Inside the scientific thought-process, the basis of Even-Chen’s thinking, there is also a search for an emotional balance – an important element in her life, which has now found a clear outlet. But at the same time, these works continue to manifest their scientific foundation by dealing with the existence of movement within the limitations of the material.
Even-Chen’s study of the materials she has elected to work with reveals a search for release from familiar outlines. Her dealing with organic shapes is an expression of her search for freedom within the framework of her beloved material. The conceptual framework, too, leans on that, which is known, or can be derived from accrued knowledge; or on a memory that surfaces from time to time. But this reliance is but a starting point, a jumping board towards new destinations, which may not be as familiar, but are certainly more intriguing.
Balance in Motion is on through July 5, 2014, at the Benyamini Contemporary Ceramics Center, Tel Aviv.
Even-Chen’s sculptures are autonomous bodies that stand independent of narrative or objectification. They have no practical use; one can only gaze upon them and marvel at the tackling of space, sculpting and aesthetics. In this aspect, they are unique in the field of applied ceramics. Their intrinsic presence allows the viewer to disregard the personal and psychological associations and examine them as autonomous bodies, existing in a sculpting space, evoking thoughts of an object’s place in the universe and raising for discussion values that stand apart from the body of their creator, if only for a moment. This possibility offers many different levels of coping with the artistic creation: a sort of Möbius strip that leads the eye and the hand in a seemingly paradoxical trajectory that cannot exist in the real world.
These abstract qualities, the flow of curves in the ceramics, raise associations of the enormous sculptures of minimalist sculptor, Richard Serra. In his colossal, steel structures, Serra managed to formulate a refined minimalistic presence that has a profound effect on viewers who walk in their vicinity. Dwarfed by the presence of these monumental pieces, the viewer is invited to follow their outline and form sequential shapes, as he strolls between them or alongside them. The active walking and touching of the fierce metal bodies make the viewer a participant in the physical experience of sculpting.
Zane Bennett Contemporary Art is pleased to announce Complications, an exhibition of works in glass by Matthew Szösz. The opening is Friday, June 27, at the gallery, from 5-7 pm as part of the Railyard Arts District Last Friday Artwalk.
Matthew Szösz, born in Providence Rhode Island, resides and practices in northern California. He holds a Bachelor’s of Fine Arts, a Bachelor’s of Industrial Design and a Master of Fine Arts in Glass all from Rhode Island School of Design (RISD), and has been awarded grants by prestigious institutions in his field such as the L.C. Tiffany Foundation. Szösz has held numerous artist residencies all over the world including the Danish Royal Academy. Szösz has an extremely impressive resume for an artist of such a young age.
Szösz’s creative process involves investigation of his chosen materials, resulting in a dance or a dialogue between artist and material. His interest lies in the moment of transformation which is what fuels his impulse to create.
Szösz’s interest is focused on what glass can do and will do when exposed to a variety of conditions inflicted by the artist, resulting in a state of controlled chaos. Of this, Szösz states "The work produced is left deliberately unmodified as much as possible after the shaping so that the connection of the finished form to the process is emphasized to the viewer, as this relationship illustrates the central thrust of the work, that form is the result of physics, rather than the artist, and that the work itself is creator of its own identity." The invention of new techniques and processes not only keep Szösz interested in his medium, the results inform him and push his process further.
Matthew Szösz’s latest works consist of several separate bodies of work including Inflatables, Expandables, and Rigging pieces. The Rigging pieces appear as delicate strands of rope fused together into different shapes. The viewer does not, at first realize the works in this series are glass. The minute detail in each of the Rigging works are a wonder to behold. With the Inflatables compressed air is added to fused pieces of glass while still hot, creating forms that are full and at times pillow-like.
The Expandables are created by pulling glass apart. Inflatables and Expandables compliment each other in their opposition to each other, one feeling more solid while the other appears almost stretched and pulled to its limit, showing strength in its delicate construction. These works clearly prove Szösz’s statement: "Much of my work is an effort to achieve a synergy between opposites- order and chaos, craft and experimentation, the deliberate and the accidental, allowing two opposites to come together and complement and enhance each other."
Matthew Szosz’s work incorporates science and art. Both the process and the outcome are equally intriguing. His work embodies, as American physician and NASA astronaut, Mae Carol Jemison so eloquently stated: "The difference between science and the arts is not that they are different sides of the same coin, or even different parts of the same continuum, but rather, they are manifestations of the same thing. The arts and sciences are avatars of human creativity."
Sakiyama Takayuki and Fukumoto Fuku / Joan B Mirviss, New York
Sakiyama Takayuki and Fukumoto Fuku / Joan B Mirviss, New York June 10 - August 22, 2014
Sakiyama Takayuki: Tidal Forms
Sakiyama Takayuki (b. 1958) continues to expound on his series: Chōtō - Listening to the Waves. Focusing now on the power of the ocean, the artist created these highly sculptural ceramic works to evoke the sublime nature of the waves and currents.
Sakiyama continues to mine the rugged coastline and beaches of his home on the Izu Peninsula for inspiration. The surfaces of his strikingly unique centrifugal forms give the appearance of having been made from sand. A special glaze that he developed highlights the intricate designs, which the artist achieves by carving the clay. Moving and receding across the surface, the texture also echoes raked Zen Gardens. These substantial double-walled vessels maintain true to their functional origins while conveying a highly sculptural quality.
Sakiyama’s place is firmly established in the canon of modern Japanese ceramics. Several of the artist’s vessels were recently featured in publications and exhibitions at major U.S. museums including: Through the Seasons: Japanese Art in Nature, Stone Hill Center, Sterling and Francine Clark Art Institute, Williamstown, MA; Fired Earth, Woven Bamboo: Contemporary Japanese Ceramics and Bamboo Art, Museum of Fine Arts, Boston and The Betsy and Robert Feinberg Collection: Japanese Ceramics for the Twenty-first Century, Walters Art Museum, Baltimore.
Additionally, the artist’s work can currently be seen in Evolution of Chinese Ceramics and Their Global Influence, a rotating installation on the Great Hall Balcony of the Metropolitan Museum of Art, New York.
Fukumoto Fuku: Lunar Forms
A leading participant in the second generation of female ceramists to change the landscape of contemporary Japanese clay, Fukumoto Fuku (b. 1973) draws inspiration from the heavens: the moon, sun, and stars, and has achieved great recognition for her ethereal porcelain sculpture.
Thinly walled, each wheel-thrown form is delicately positioned within another slightly larger vessel and fixed into position during the final firing by the melded glaze. Renowned for her throwing ability, Fukumoto is able to create forms that appear fragile and light that are in fact, though thinly walled, both strong and vibrant. The soft radiant white of the unglazed porcelain is highlighted by brightly colored, shiny glazes in varying tones of blue ranging from teal to powder blue that cover one surface of each of the stacked elements.
Fukumoto uses the medium as her guide through the artistic process. Her forms arise from a reaction to the behavior of the clay during the throwing process. She stresses how this aspect of improvisation is the cornerstone of her methodology:
“While working, I am keen to let my eyes find new discoveries, which turn the process itself into an adventure of ongoing experimentation. The image is born from within the process with every turn of the wheel, and I must always react and remain attentive to the clay’s shape and its changing condition. The form and image arise gradually, from one step of the process to another, and give birth to new creation.”
Born into a family of textile artists, Fukumoto received her MFA from Kyoto City University of Arts, where she studied under celebrated ceramic sculptor Akiyama Yō. Her works were featured in the seminal exhibition Soaring Voices-Contemporary Japanese Women Ceramic Artists, which traveled extensively to museums both in the U.S. and abroad from 2007-2012. Currently, her work is on display in Evolution of Chinese Ceramics and Their Influence at the Metropolitan Museum of Art. In addition to being actively sought after by private collectors, her works have also been acquired by American museums.
Watt’s Up? explores the relationship between ceramics and light by presenting some thirty works of art from all over the world, all created in recent years. Oddly enough, this relationship seems to inspire artists more than designers, trained to create objects such as lamps. Perhaps that’s because light transcends objects and gives us a whole new take on the world. Light affects our vision by modifying our perception of space and movement. In addition, there is a symbolic, poetic and mysterious element to it. As the French author Jean Giono once put it, very clever mysteries hide in the light. If light and ceramics go hand in hand, it’s mainly courtesy of porcelain’s unique properties of translucency, which can give light – produced by a candle or a tungsten filament – a soft, poetic aura and elicit a feeling of wonder. Ceramics offers a broad palette of sensations to play with. Faience is heavy, glossy and sensual in its interaction with light. Pottery absorbs lux units and asserts its own material plasticity to counter the intangible nature of light. Porcelain is lightweight and translucent, and the matte aspect of unglazed biscuit forms a striking contrast with the gloss of the glaze. Watt’s Up? is an unprecedented investigation of the latest innovations and know-how, both sensorial and intellectual in scope. As the topic was complex and broke new ground, it took nearly two years of research to bring these thirty or so works together. These works are by fifteen artists exhibiting for the first time in France. They are the result of technical prowess – manual and technical – as well as fresh creative thinking. None of them represent any particular school of thought, creative trend or artistic movement. Each work is an explosion of creativity, born of the artist’s reflections and inspiring a sense of wonder. This exhibition sheds new light on the art of ceramics.
Curated by Cédric Morisset A double major in art history and cultural management, Cédric Morisset started out in contemporary art and gravitated towards design. He then moved into curating art shows, starting in 2003 at the invitation of the international design biennial in Lisbon and continuing in this line of work for several exhibitions presented in France and other countries, including French Reference (Shanghai and Canton, 2008), Icons of Design (Sao Paulo, 2009) and Nouvelle Vague (Milan, 2011 and 2013). Cédric Morisset contributes articles on design to AD magazine and the daily newspaper Le Figaro on a regular basis. From 2010 to 2012, he served as head curator for the annual AD Interieurs exhibition held by AD magazine. Since 2013, Cédric Morisset has headed the design department at the PIASA auction house in Paris.
Frances & Dominic Bromley Since Frances & Dominic Bromley started their design studio Scabetti in 1999, their work in ceramics has earned considerable critical acclaim in the UK and across the world. Their designs are light, precise and elegant, and realised in fine bone china in their studio in Leek, North Staffordshire. Their first venture into light sculpture in 2004, was inspired by moths being attracted to candle light. Drawn to the Light, was composed of sculpted curved elements made out of bone china which appeared to be floating around the central light source. During London’s Design Festival in 2007, the couple presented Shoal, a suspended light sculpture suggesting a school of fish with more than 1500 bone china elements. These pieces paved the way for a series of bespoke commissions, which are now a Scabetti specialty. One commission for the International Maritime Organisation had 3,434 stylised bone china anchors arranged in a 5m tall sculpture and is on permanent display at their London Headquarters. Frances & Dominic Bromley have created Ascension especially for the Watt’s Up exhibition and their imagination has reached new heights. This new installation, made of English fine bone china, features hundreds of human forms that seem to be rising through the air towards the light. The creative talent of this design duo has added poetry to technical expertise.
Frances Bromley (b. 1969) and Dominic Bromley (b. 1971) majored in Industrial Design at Brunel University, London. They live and work in Leek, near Stoke-on-Trent, England.
Jeremy Cole The master artisan from New Zealand has been highly sought-after by the luxury sector since 2005. His remarkable porcelain lighting fixtures are inspired by the plant kingdom (e.g. flax, aloe vera, a chyrsalis or orchids). In his studio on the other side of the world, he creates beautifully crafted masterpieces that end up in Bulgari or Harry Winston show windows or at Four Seasons hotels. His unique lamps feature spectacular, poetic forms that imitate Nature; his magical lighting can make them look stylish, disturbing or amusing. And the porcelain orchids in his hanging lamp Cymbidium Orchid actually look dead until the light is turned on, making them come vibrantly alive.
Born in 1973 Jeremy Cole is a self-taught artists. He lives and works in Wellington, New Zealand.
Coup de foudre: Goedel Vermandere & Jan Arickx Goedel Vermandere used to teach school but became a ceramic artist in the mid 2000s. In 2004, she met an event planner named Jan and it was love at first sight… including at the professional level. As a design team, they went on to create light sculptures from cast porcelain that were remarkable for their sensuous quality and their harmony. The pair also works in steel, copper, stainless steel, paper and tree bark. They are always experimenting with new techniques to illuminate porcelain’s transparence more effectively, express a feeling of warmth and fulfillment, and open up new horizons.” Their creations – whether a hanging lamp forming a horizontal line in space, a standing lamp like a totem pole or a suspended lamp as round as a full moon – are striking for their simplicity and originality. One reason is that each of their pieces, which are fired gradually, starting at a low temperature and building up to 1260°C, is fashioned from hundreds of translucent porcelain petals and gives off a soft, romantic light. This talented twosome knows how to use technical skill to create poetry.
Goedel Vermandere (b. 1969) is a school teacher trained in ceramics at Syntra-West, Bruges. Jan Arickx (b. 1959) is an event planner. They live and work in Courtrai, Belgium.
Pucci de Rossi Born in Verona, Italy, the artist and designer Pucci de Rossi moved to Paris in 1979. In step with the Memphis Art Movement, launched in Italy in 1981, he influenced the European art and design scene of the 1980s and 1990s. Throughout his career, he developed the wildly poetic side of his nature, not to mention his unbridled imagination. Constantly seeking to reinvent and reinterpret, he liked to use ordinary materials like lead or cardboard to create elegant, highly imaginative objects, and to turn preconceived ideas upside down. Poking fun at the “art or design” controversy, which is still raging, the artist gave everyday objects an ironic narrative treatment that rendered them precious. In the last decade, De Rossi exhibited at art galleries in Paris, such as Catberro, Downtown (François Laffanour) and Anne de Villepoix. Not only did his work impress collectors, but creations bearing his signature made their way into the collections of the Musée des Arts Décoratifs in Paris. His designs were produced by the editor Made who suggested In 2001 to release limited editions of his one-off objects. Among the latter were Dondola (rocking chair with book shelf, 2004) and his Cartona lamp (2005), which is presented in this exhibition and pays tribute – whether intentionally or not – to Arte Povera. Using fine porcelain to imitate humble cardboard, this creation flirts with contrasts and brings a little whimsy to everyday life.
Bernadette Doolan For more than fifteen years, the Irish artist Bernadette Doolan has been creating works marked by their intimacy. She sets out to capture and express emotions in porcelain and bronze as well as in her paintings. “My work focuses on life, from the cradle to the grave and everything in between… on our dreams, desires and fears” she explains. The work presented in this show is an assemblage of illuminated box panels using engraved porcelain, which looks different depending on whether the lights are on or off. The artist is interested in our memories and in the motifs, landscapes and impressions stored in our subconscious. “I use objects that are meaningful in a personal way, such as the lace from a First Communion dress, to print on the porcelain surface,” comments Bernadette Doolan. “Sometimes, I even use plastic bubble-wrap, because I love the sound that the bubbles make when they pop!” When the panels are illuminated, the pattern communicates the emotions inherent in the private experience to the viewer.
Born in 1973 Bernadette Doolan is a self-taught artist. She lives and works in Wexford, Ireland.
Volker Haug Based in Melbourne, Australia, the German-born designer Volker Haug designs one-off artisanal lighting creations. He got the idea for his clever Rudolf pendant from the double adaptors to be found on plastic lights in Berlin. The designer amused himself dreaming up all sorts of combinations. After a trip to Milan and a conversation with Ingo Maurer, a master of lighting design, Volker Haug returned to Australia determined to use porcelain for his Antler line. Rudolf revisits traditional chandelier design by assembling porcelain modules in every direction, combining industrial style with porcelain craftsmanship; modularity with unity.
A general overview of the exhibition takes us on a stroll through an avenue, with structures on either side. It is a walk between the fine elegance of geometric shapes, and the almost smug solidity and sensuous texture of the surface of the material, scorched by living flames.
In his book, “Species of Spaces and Other Pieces”, Georges Perec describes his journey through space, and the sensations it awakened within him: “Our gaze travels through space and gives us the illusion of relief and distance. That is how we construct a space, with an up and a down, a left and a right, and in front and a behind, a near and a far”.¹
In my meetings with Simcha, in preparation for the exhibition, we frequently discussed the sensations that works of art induce in us: opposites, balances and imbalances, floating… The work of sculpting the massive clay matter sends a message of stability and a sense of floating in space. I am fascinated by the duality of the interaction between softness and harmonious flows, between the ascetic black and precise, repetitive patterns that speak of uncompromising harshness.
In her works, one can trace the evolution of a language that expresses and explores the relationships between “free” three-dimensional space and the open and twisted, two-dimensional, geometric surfaces planted in it, giving it visual meaning without restricting its movement.
Simcha Even-Chen focuses on the balance between motion and stability, and searches for the relationships between mass, volume and balance. She concentrates on simple and harmonious architectural shapes, and uses black and white colors. Borrowed from graphic paper, the grid-like pattern that covers her works offers a precise, scientific result on top of the harmonious, elusive bodies. Her works appear to be floating in midair, lacking any center of mass; while the black color, formed during the firing process using the Naked Raku technique, which allows the artist to control the absorption of the smoke by the surface of the piece, bestows the illusion of gravitational grasp. The geometric coating and the interplay of smoothness and roughness on the surface create a breathtaking tension. —Tirza Yalon Kolton
¹ Perec, Georges. Species of Spaces and Other Pieces, ed. and trans. by John Sturrock, London: Penguin, 1997 (Page 81.)
Simcha Even-Chen was awarded her PhD degree in 1990, in the field of Biology at Tel-Aviv University. She held a Project Manager Position in a Biotechnology Company till 1993. During the period of 1994-1996 she has taken night courses in ceramic at Rehovot Culture Foundation parallel to my Post Doctoral position at the Medical School Biochemistry Department, the Hebrew University Jerusalem. Most of her ceramic knowledge is from the literature and self-thought.
In 1996 Simcha established her own studio and later on she gained a position of Senior Scientist in the Medical School, which she has held till May 2013. In 2011 she was elected Member of the International Ceramic Academy (IAC).
Since 2000 her works have been exhibited in Spain, Austria, Switzerland, Slovenia, Korea, China, Romania, Italy, Croatia, USA, South Africa, Australia and Israel. She won Awards in Australia, Spain, Korea, Slovenia and China and has works in major museums and private collections in an increasing number of countries.
The exhibition was born from the sensations that were aroused to a group of artists from La Plata after the perception of what happened during the terrible flood that hit their city last April 2nd of 2013. The artworks of Marcela Cabutti, Mariela Cantú, Gabriel Fino, Graciela Olio and Paula Massarutti display a diverse set of poetics that allows us to think about how the construction of images and artistic devices participates in the process of building a collective memory.
Certain circumstances constitute an event to the extent that causes a deviation in the course of our everyday experience. Natural or social tectonic movements displace the foundations on which we build us. The unpredictable breaks, hits, and then opens, letting us see what was below that which has been moved. The flood brought our attention to what we usually don´t look, putting our fragility in public, and revealing that the way we live, build and socially act modifies the territory we inhabit. The artworks in this exhibition do not try to “represent” what happened. The artists conceive the practice of memory from the field of poetry, creating works and devices that function as meeting spaces that enables dialogues unknown a priori. As blocks of sensations or resonance boxes, the artworks create meeting infrastructures and invite to build from its empty spaces. If the disruptive experience operates as a large gap in our symbolic order, the poetic has the ability to register, give presence, or make visible that which escapes in our attempt to narrate what happened.
Graciela Olio builds small houses with porcelain planes, which cuts and splices together. The house, symbol of the cosmos, is the materialization of our attempt to protect ourselves. But her houses are precarious, sometimes without ceiling or a wall, shelters that rather than creating an interior space, makes themselves visibles. The house crossed by the river has to be one of the most terrifying images. Then comes the adjusting, things acquire a new order, some get lost, others deteriorate. How to move on? The question translates into an impulse to work with what we have, what is left, the remains.
Worlds are constructed from pre-existing worlds, and in that way to make is to remake says Nelson Goodman. Olio takes some pieces of his series Home and Mil Ladrillos that in After the Storm, are crossed by a transformation processes. She intervenes in her ceramic pieces, testing operations that multiply the work of the unpredictable in its forms. Her works become a testing ground, where she experiments encounters with the possible. Putting back in the process something that was finished entails working with error, with failures. Putting back in the kiln some ceramic pieces, reinforced the deconstructive the process of the forms, to the point where some could no longer stay up. Olio built for them small platforms, supports that served as bases, and became palafittes, structures that rise the houses above the water level in coastal areas or rivers. The support structure becomes a metaphor for the idea of care, of guard of the other. What political infrastructure of affection, encounter and care must we build to create strategies that allow us to survive in this complex and unpredictable territory? How to rethink lifestyles, work, organization and collaboration to create sustainable ways of life? How to coordinate actions of citizen participation in the management of the common, the territory?
Paula Massarutti delves into the testing of social bonds that implied the emergence of collective strategies to respond the abandonment during the flood. The forms of solidarity and energetic presence of the other, in rescue, shelter and hospitality actions. Starting from a dialogue with the neighbors that live in the adjoining blocks to her house, she creates a fictional space that asks: What are we willing to compromise with the other? Her project imagines the possibility of elaborating an act of agreement or contract between neighbors, which materializes the commitment to mutual aid in case a new catastrophe occurs. Tensioning the boundaries between fiction and the real, the project transits the space between the spontaneous and anonymous solidarity and the will to build a sustained commitment.
Mariela Cantú overlaps images of the day after the flood, with fragments of a poetic discourse that relates the steps to oblivion after a breakup and audios of old argentine news that talk about the floods in the territory of the province of Buenos Aires. History repeats itself? Cantú intersects the plans for the personal and intimate memory, with those of the great social tragedies. Is it just a matter of scale? Intimate garbage, exiled objects, piles of stuff that become portraits of an unknown other. What images are built in the disordered accumulation of belongings from a certain person when they are devoid of any value? Cantú explores the process that involves any kind of mourning, wondering about intricate work of memory construction, with a critical eye towards the dimension of oblivion.
Gabriel Fino creates images of the storm, of the chaos-seed, of a transformed landscape in which the structures and boundaries dissolve. His work proceeds by accumulation of layers, and densities of meaning. Produced with infinite patience, it requires from the viewer a similar attitude, an attentive gaze, looking below, in the detail, in the fragment, into the interstices, beyond the delicate gesture that gives strength to the whole. Watching between the lines, and get a glimpse what is born of that mix of the whole, of the beautiful and the ugly, of darkness and light; the life emerges in the mixture of the dirt, the rotten and the forgotten. Allow the water to stagnate, to see the birth of the water lily. To see what germinates from chaos.
The installation Mirá cuántos barcos aún navegan! (Look how many ships still sail!) by Marcela Cabutti configures a territory that puts our attention in the moment after. An instant that seems to be frozen but which we perceive as vibrant. The work in its apparent stillness does not cease to deploy images. There is something treasured in the traces of its constructive, manual and methodical process. If art preserves, according to Deleuze, a bloc of sensations, in front of this piece we can´t but shudder at the way in which a work may operate as a memory machine. What connections and memories activates, that make us stand before the constructed landscape? Accidentally we assume the attitude of the character, and we find ourselves contemplating as well. Along the way, we become landscape, we become animal, we become others and suddenly we find ourselves playing. The memory that is activated is one certain way of being in the world, one that resonates in the strings that connect us with the looks of childhood, surprise and wonder at the beauty of the world. —Lucía Savloff
Contemporary Ceramics Festival TseGlyna 2014, Kiev, Ukraine
Contemporary Ceramics Festival TseGlyna 2014, Kiev, Ukraine May 30 – June 3, 2014
The contemporary art ceramics festival TseGlyna 2014 takes place in Kyiv, Ukraine, between May 30 and June 3, 2014. This art project aimed at boosting the professional ceramics development in Ukraine.
The main objectives of the project are to demonstrate the achievements of Ukrainian ceramists and to develop the cooperation between ceramists, designers, architects, gallery owners, collectors and theorists.
More than 50 participants represent various regions of Ukraine: Kyiv, Lviv, Uzhgorod, Kharkiv, Poltava, Luck, Zaporizhia, Slovyansk (Donetsk region), Konotop (Sumy region). Among the participants there are young artists as well as leading ceramists such as: Taras Levkiv, Uliana Yaroshevych, Gia Miminoshvili, Nelli Isupova, Svitlana Pasichna, Andriy Illinsky, Sergiy Radko, Stepan Andrusiv, Vasyl Bodnarchuk, Volodymyr Kovalev, Sergiy Kozak, Volodymyr Khyzhynsky, Yuriy Musatov and others.
The partner of the festival is the Ya Gallery Art Center, who will present the project «Drova» by Olena Blank.
Festival schedule: May 30, 18:00 - Festival Grand Opening May 31, 16:00 - Round-table Discussion, which aims to look over the questions: - Current status of the contemporary Ukrainian ceramics; - Popularization of the professional Ukrainian ceramics among gallerists, collectors, architects, designers, art event organizers; - Cooperation with architects and designers; interaction with interior spaces; - Theory and practices of the contemporary Ukrainian ceramics in the global world’s context; June 1, 16.00 – Professionally-creative experience and knowledge exchange evening; Personal projects presentation (Gia Miminoshvili: project Interactive Construction, Nelli Isupova: International Ceramics Biennale participation memories); June 2 – Film presentation: artistic ceramics and international ceramic symposiums; June 3, 18.00 – Festival Grand Closing (performance by Dinamic Culture TseGlyna).
The festival location: Exhibition Hall at NSK «Olympic», str. Velyka Vasylkivska 55, Kyiv, Ukraine. Admission is free.
Jason Jacques Gallery is pleased to announce its second contemporary exhibition with contemporary ceramic master Michael Geertsen. Following a ceramic installation at the Victoria and Albert Museum in London and a show at Puls Ceramics in his native Denmark, Michael Geertsen has come back to show in New York. Geertsen is known for sleek ceramic works with alien-like sculptural bodies, and stacked sculptures of utilitarian objects like plates and cups. His whimsical and animated forms are executed with machine-like precision, thanks to his background in industrial ceramics. Michael claims American streamline design and Italian Futurism as his primary influences.
His most recent works have reinterpreted ancient Greek pottery, taking the classical forms and integrating them with modernist elements. He adds antlers, knobs and nipples in metallic gold and platinum. The gold and platinum protrusions create mirror like reflections which, when placed next to other works, distort the forms further, shifting perceptions of their form or shape.
Geertsen says his use of gold and silver is a nod to Western decadence. He started using these elements in his work while exploring Soviet constructivism where Gold and silver screamed hedonism, abundance and American kitsch. The use of gold and silver is also a reaction against 1960’s naturalistic pottery, making the works cheeky and stylized. The artist and scholar Edmond de Waals described his work as always “questioning the place that ceramics has inhabited, as well as the place that ceramics will inhabit in the future.” Michael’s most recent innovations have made that statement even more fitting.
Geerstsen’s work can be found in the preeminent collections of museums worldwide, from as close as the Metropolitan Museum in New York City to as far as the Incheon Museum in South Korea. His incredible installations can be seen all over the world, from the Victoria and Albert Museum in London to a three dimensional mural in downtown Hanoi Vietnam.
This exhibition explores the full spectrum of Geertsen’s work from his use of utilitarian objects in stacked futurist sculptures, to free standing sculptural life forms that seem to come from another planet, to his new classical inspired vessels with gilded protrusions. The show is sure to be a spectacular cementing his place among the contemporary greats.
Tommaso Corvi-Mora is pleased to present a solo exhibition of work Simon Carroll. Born in 1964, Simon Carroll died in 2009 at the age of 45. He was one of the most talented and inventive potters of his generation.
After the clean slate brought about by the generation of postmodern potters of the 70s and 80s (Alison Britton, Elizabeth Fritsch, Walter Keeler, Jacqui Poncelet), whose work developed also in reaction to Bernard Leach’s lasting influence, potters working in Britain divided themselves into two separate camps: those who could be called the “apollonians” (Julian Stair, Edmund de Waal, Ken Eastman), who privilege clean lines, muted colours, an interest in modes of display and an approach to ceramics influenced primarily by minimal and conceptual art, and those who could be identified as the “dionysians” (Gareth Mason, Ashley Howard), more focused on the object presented individually and on an approach closer to “art informel” and abstract expressionism. Simon Carroll’s work places itself firmly in the latter group; however the exuberance and eruptive force of his forms is always tempered by a thoughtful and affectionate reverence for the tradition and history of pottery, especially for 17th- and 18th Century slip-decorated Staffordshire wares.
The exhibition at the gallery will focus on two bodies of work: a series of jugs from 2005-2007 and a group of tall pots, first exhibited in 2006 at Tate St. Ives. Emmanuel Cooper wrote about the exhibition in The Guardian in 2009: “A major breakthrough came in 2006 with a show at Tate St Ives, when Carroll filled the long showcase with tall, thrown and manipulated pieces that included modelled parts, incised decoration, colour and slips and incorporated diverse references such as 18th-century porcelain, Staffordshire slipware and the decoration on Oribe ware, as well as Elizabethan ruffles. All were inventively amalgamated into his squareish forms, some with rounded feet, which brought an understanding of the history of ceramics into the 21st century, the cracks and imperfections being a vital part of the story.”
Simon Carroll’s work is the object of a monographic presentation at the Victoria and Albert Museum in the frame of the “Display” series, in the Ceramics Galleries, room 146 until 4th January 2015.
New Delhi, a city of ten million or so people, takes its history seriously. Pretty much any museum experience you can imagine is available. Whether you want an overview of what’s been happening during the past 5,000 years, an insight into the life of Mahatma Gandhi or a journey through the crafts representing India’s incredible regional diversity, you can get it.
That said, if you’re only in the city for a short stay, you don’t have time for everything. So here are three museums that you really shouldn’t miss. For a place to stay that’s convenient, check out the some of the great hotels in Delhi Dwarka.
To really understand a country, there’s no substitute like visiting the National Museum. Found on the corner of Janpath Street and Maulana Azad Road, and run by the Indian Government’s Ministry of Culture, India’s is home to a stunning collection that will take you on a truly amazing trip through five millennia.
The numerous objects and more than 200,000 art works are divided into twenty-one galleries. One of the highlights is definitely the Harappan Gallery, where you’ll see evidence that technology was exceptionally advanced and lifestyles rather sophisticated even back in 3000BC. Another is the absolutely delightful Miniature Gallery, filled with over 17,000 miniature paintings. Styles include Mughal, Deccani, Central India, and Pahair, and you’ll see art works on all kinds of materials, from palm leaf to wood to leather.
In order to really understand what you’re seeing, nabbing an audio guide is highly recommended. The museum is unlikely to give you one unless you can provide ID, however, so don’t forget to take your Driver’s Licence or similar with you. The National Museum is open between 10am and 5pm, Tuesday to Sunday, but closed on Monday. Admission is 150 INR (general), 10 INR (Indian citizens) and 1 INR (students). To make an inquiry, call +91 1123019272.
The National Gallery of Modern Art, located at Jaipur House, India Gate, is committed to preserving and promoting post-1850s art. More than 17,000 paintings, sculptures, photographs and graphics range from miniature works to cutting-edge contemporary installations. Some of the major artists represented include British painter Thomas Daniell (and his nephew William), Jamini Roy, Amrita Sher-Gil, Raja Ravi Verma and Abanindranath Tagore.
Since opening in 1954, the gallery has received significant renovations and upgrades. Most recently, in 2009, it saw the addition of a brand new wing, increasing the overall space six-fold and incorporating a theatre, an auditorium, a library, a section dedicated to academia, a laboratory committed to conservation, an eatery and a retail outlet. You can visit the National Gallery of Modern Art between 10am and 5pm on any day except Monday.
National Handicrafts and Handlooms Museum
If you’ve already fallen in love with silk sarees and shadow puppets, this is the place to find out all about them. India’s handicrafts have become popular in various incarnations all over the world, having developed in their own country over the course of thousands of years.
Given India’s immense population (more than 1.2 billion) and expansive area (over 3.2 million square kilometres), the artistic regional diversity is incredible. At the National Handicrafts and Handlooms Museum, you can find out all about the evolution of various sets of aesthetics – and how they inform an array of crafts, including carving, pottery, weaving, puppetry and painting. You’ll find the museum in Pragati Maidan on Bhairon Road. Between July and September, visit between 9:30 and 5pm, while between October and June, opening hours are 9:30am-6pm. It’s closed Mondays all year around and on public holidays.
Alexandra Lerman: Immediate Release / Tina Kim Gallery, New York
Alexandra Lerman: Immediate Release / Tina Kim Gallery, New York May 1 - June 28, 2014
Tina Kim Gallery is pleased to present Alexandra Lerman’s first solo exhibition, Immediate Release.
A coincidence of the calendar becomes a critical frame. The first of May commemorates May Day, an ancient folk festival meant to awaken the wintering body through conviviality, dance, and song, also, International Workers’ Day, the 20th century’s concession to the solidarity of laboring bodies in almost every country of the world. The 1st of May saw the opening of Immediate Release, the new exhibition of multi-media artist Alexandra Lerman.
Alexandra Lerman’s Immediate Release presents a multi-layered installation of drawings, terracotta tablets, ceramics, and performance by Madeline Hollander that literally and metaphorically diagrams the capture of the body by the intersecting forces of technology, capital, and representation. The inauguration of a new kind of May Day, then, that understands that the body’s movements are no longer simply instrumentalized through the mechanics of labor, but also by the codification of its informal moments of respite: social communication, relaxation, aesthetic expression.
Two walls of the gallery are hung with terracotta maps depicting the gallery staff’s circulation through the space, traced by a finger dragged across the wet tablet’s surface and finished with a pinch, a now ubiquitous gesture for minimization, for which Apple briefly owned a patent. On an adjacent wall, Sumi ink drawings on legal forms render the 26 poses of Bikram Yoga, which tried to license to traditional, commonly-held wisdom of the body movements it taught. These components supplied a kind of elementary formal dictionary for Hollander’s choreographed performance that unfolded in front of them: at the opening, and then again on May 10th, the gallery’s central column become a kind of maypole for four dancers who looped through a series of movement sequences abstracted from Apple Inc.’s touch screen gestures, BikramChoudhury Yoga Inc. poses, and moves from Balanchine™ Ballet. In the intervening time, the stage around the column has been strewn with freestanding ceramic totems impressed with the positions the body takes during the performance.
At one level, the performance exists as the corollary release to the implicit capture of the body through the licensed systems of movement it borrows from: emancipation through appropriation. The movements are loosed from their various proprietary rationalizations and applications, existing momentarily for and by themselves. And yet the intentionally awkward and repetitive choreography also asks where exactly is this body being released into? Not just a commercial gallery, but, more generally, another regime of representation that may prove to be no less administered.
We are reminded that the original spirit of the folk May Day, like every bacchanal, was not just immediate release but temporary release, too, sanctioned only by its agreement to be defined as an exception. In this way, Lerman’s art is also like the festival: not an outside, but an interval- the moment of the body in mid-air, when the feet have left the ground and not yet returned. —A.E. Benenson
Immediate Release is curated by Ceren Erdem. Alexandra Lerman (born 1980, St. Petersburg, Russia) lives and works in New York. Lerman completed her MFA at Columbia University in 2012 and received her BFA from Cooper Union in 2004. Lerman’s individual and collaborative projects have been shown at the Storefront for Art and Architecture, Anthology Film Archived, Austrian Cultural Forum, Artists Space, Janos Gat Gallery, the New Museum in New York, MUSAC in Spain, and the Hermitage in Russia. For 2012-2013, Lerman was a resident at LMCC Workspace Program, New York; in August, 2012 she took part at The Banff Centre Visual Arts Program: 01 The Retreat: A Position of dOCUMENTA (13), Alberta, Canada; from 2014 through 2016 she is taking part in the Open Sessions at the Drawing Center, New York. In 2012 Lerman co-founded Torrance Shipman Gallery, an artist run space in Brooklyn.
Transformation 9: Contemporary Works in Ceramics / Contemporary Craft, Pittsburgh
Transformation 9: Contemporary Works in Ceramics / Contemporary Craft, Pittsburgh April 25 - November 1, 2014
The Transformation series, one of the Society for Contemporary Craft’s signature programs, was established in 1997 as a biennial juried exhibition focusing on traditional craft media–glass, wood, metal, clay, and found materials–in rotation. The exhibition seeks out an international selection of artists redefining their medium to create work that is challenging and thought provoking; inviting us all to reconsider our notion of “craft.”
This year’s focus is on clay. Clay has been used, decorated, coveted, and collected for thousands of years, yet in the hands of contemporary artists this irresistible medium continues to surprise through innovative techniques, forms, and functions. Visitors are invited to see what happens when makers push the boundaries of time-honored craft materials—right before our eyes, something old is new again.
In conjunction with each Transformation exhibition, the jurors award the participating artist whose work best displays the tenets of excellence and innovation the Elizabeth R. Raphael Founder’s Prize. Named in honor of SCC’s founder, the award is accompanied by a $5000 cash prize.
Transformation 9: Contemporary Works in Ceramics features the work of all 31 of the Raphael Prize finalists, a selection of internationally recognized and emerging artists. The exhibition highlights outstanding and innovative examples of contemporary works in clay, all of which have been created within the last year. The work of three regional artists—Chuck Johnson of Venango, PA, Erica Nickol of Pittsburgh, PA, and Ian Thomas of Slippery Rock, PA—is included in the exhibition.
Linda Swanson of Montreal, Quebec has been selected as the winner of the Society for Contemporary Craft’s (SCC) 2013 Elizabeth R. Raphael Founder’s Prize competition. Two honorable mention honorees, Lauren Gallaspy of Salt Lake City, UT and Lee Somers of Montevallo, AL, and one merit recipient, Lauren Mabry of Philadelphia, PA, were also announced at the exhibition opening on April 25, 2014.
Swanson’s winning entry, Cypreus Lumen, 2013, is a 20 inch round wall disk made from crystalline glazed porcelain with a painted aluminum rim. The turquoise glaze looks almost liquid with the faintest ripple of movement on the surface. A patch of deep red disrupts the calm in a dynamic swirl of motion. “Processes of change, formation, and dissolution are caught in this crystalline glazed surface,” says Swanson of the piece. “A flow of molten colorants in an optically ambivalent and luminous frozen moment recalls geology as well as biology, and elicits material affinities between the body and the world around us.”
As the 2013 Raphael Prize winner, Swanson shows several other ceramic works in Transformation 9, each exploring the changing nature of matter. A site-specific installation similar to her piece Osmogenesis (recently seen at the Northern Clay Center in Minneapolis, MN) was installed in SCC’s main gallery throughout the run of the exhibition. Combining the slow and steady drip of water onto a clay-covered steel surface, the piece is constantly changing. As the water burrows through the clay, the underlying metal surface is exposed in a collection of bubbling craters. Swanson describes the piece as exploring the “interdependence of organism and environment, as well as organism and organism – in which one species is created, or at least sustained, by and through another.”
Born in Los Angeles, CA, Swanson received her B.A. in Art History from University of California Santa Barbara, her B.F.A. in Ceramics from California State University, and her M.F.A. in Ceramics from the School of Art and Design at Alfred University, Alfred, NY. Currently, she lives in Montreal, Canada where she is an Assistant Professor at Concordia University. Swanson’s ceramics have been exhibited in SOFA Chicago with the Lacoste Gallery, Elemental at the Northern Clay Center in Minneapolis, and INFESTATION, a public art installation at the Parcs Canada Lachine Canal Historic Site in Montreal. In 2013, Swanson was named an Emerging Artist by NCECA, the National Council on Education for the Ceramic Arts.
An honorable mention award was given to Lauren Gallaspy for her piece, Giving Up the Ghost, 2014. The startling 16” tall sculpture combines soft, feminine lines with a mass of ceramics shards and strips. Gallaspy received her M.F.A. in Ceramics from Alfred University and has been named a NCECA Emerging Artist. She describes her work as being “about imbalance—the vulnerability of living things— and the sometimes violent, sometimes pleasurable, almost always complex consequences that occur when bodies and objects in the world come into contact with one another.”
A second honorable mention award was presented to Lee Sommers for his work, Scape IV, 2014. Having also received his M.F.A. in Ceramics from Alfred University, his work has been exhibited throughout the United States and China. Known for his distinctive ceramic collages, Sommers explains his process as “a coupling of fleeting notions and physical realities. Collage is a key strategy in both the physical and conceptual organization of my work. Drawing from a variety of sources, ongoing acts of sampling, collecting and cataloging, leads to a critical mass of components. Weaving a matrix of relations between these parts, I find compositional epiphanies - parallels to aesthetic experiences etched in my memory.”
Additionally, the jurors gave a merit award to Lauren Mabry for her piece, Curved Plane, 2013. The artist, a M.F.A. graduate from University of Nebraska-Lincoln, describes her work as “painterly, abstract, ceramic sculpture.”
The jury for the 2013 prize was composed of Joshua Green, Executive Director of the National Council on Education for the Ceramic Arts; Jae Won Lee, a Korean American ceramic artist and Associate Professor at Michigan State University; Alexandra Raphael, enamel artist, London, England; Catherine Raphael, metalsmith and storyteller, Pittsburgh, PA; Kate Lydon, Director of Exhibitions at SCC; and Janet McCall, Executive Director at SCC.
“This prize honors artists who are redefining the boundaries of their media to create work that is challenging and thought-provoking. The strength and recognition of this competition has grown over the past 17 years and continues to challenge our viewers understanding of craft today,” said McCall.
Dual Natures in Ceramics: Eight Contemporary Artists from Korea / SFO Museum, San Francisco
Dual Natures in Ceramics: Eight Contemporary Artists from Korea / SFO Museum, San Francisco May 17, 2014 - February 22, 2015
“In modern art, as everyone knows, the beauty of deformity is very often emphasized, insisted upon. But how different is Korean deformity. The former is produced deliberately, the latter naturally. Korean work is merely the natural result of the artisan’s state of mind, which is free from dualistic man-made rules.” —Bernard Leach (1887–1979)
Renowned British studio potter Bernard Leach once acknowledged that Korean potters are admired for their naturalism and spontaneity in creating ceramics. Scholars have attempted to define the beauty of Korean ceramics as “artless art” or “unplanned plan.” Indeed, Korean ceramics have been produced by the second nature of matured, skilled hands, sometimes transcending any rules, knowledge, and intentions.
During the twentieth century, Korean artists and theorists grappled with the interplay of modernization and tradition. Some artists looked to the genuine, fresh, and fundamental qualities of Korean potters from the past as inspiration to create more appealing modern concepts. Through Korean ceramics, they have explored a dialogue between the traditional and the contemporary as well as East and West.
The eight artists in this exhibition revive and reinterpret aspects of traditional Korean ceramics in various ways. Yoon Kwang-cho and Lee Kang Hyo discover artistic freedom in Joseon dynasty (1392–1910) buncheong (white-slipped stoneware) ceramics and apply white slip in playful and innovative ways. Buncheong is a distinctive type of Korean ceramic that flourished during the fifteenth and sixteenth centuries. Both artists’ ceramics have the whimsical, rustic, and audacious characteristics of buncheong in addition to contemporary elements. Joseon dynasty whiteware was the main foundation for Kim Yik-yung and Park Young Sook. Park has experimented on the uniquely Korean globular jar, the so-called ‘moon jar,’ while simultaneously exploring other Korean porcelains including a blue-white ware shown in this exhibition. Embracing whitewares’ core traditions, Kim Yik-yung complements innovative surface treatments and explores new types of glaze.
Techniques used in traditional Korean ceramics are another matter for the artists in this exhibition. Roe Kyung Jo is known for his marbled-ware technique (yeollimun). The technique was traditionally used for celadon wares, but Roe applies it to other wares. Onggi, a form of earthenware that predates porcelain production, served various purposes in Korean households. Lee Inchin started his works based on onggi wares but expands the technique using new kinds of glazes and experimenting with their applications.
Koo Bohnchang and Yeesookyung go further in interpreting traditional Korean ceramics. Through photographs and video art (newly created for this exhibition), Koo reveals the organic qualities of Korean ceramics that have been overlooked or disregarded by our bare eyes. Yee utilizes and renders the superfluous aspect in ceramic production. Using abandoned ceramic shards, she translates the original concepts of ceramics into more innovative sculptural works that sometimes puzzle the viewers about the concept of ceramics as art in the twenty-first century.
Although their techniques, methodologies, and approaches are different from each other, these eight artists playfully add complex layers onto the history of Korean ceramics through their own interpretations and expressions. Dual Natures brings fresh perspectives to traditional Korean ceramics and suggests new paths of expression for a new century.
This exhibition is co-organized by the Asian Art Museum and SFO Museum and is curated by Hyonjeong Kim Han, Associate Curator of Korean Art, with assistance from Silvia Hari Chang, and Chihyun Lee at the Asian Art Museum.
Dual Natures in Ceramics is located in Terminal 3, Boarding Area F. The exhibition is located post-security and is only accessible to passengers ticketed for travel through Terminal 3. There is no charge to view the exhibition.
Jun Kaneko: A Stage for a Shared Dream / Locks Gallery, Philadelphia
Jun Kaneko: A Stage for a Shared Dream / Locks Gallery, Philadelphia May 2-31, 2014
Locks Gallery is pleased to present an exhibition of ceramic works by the artist Jun Kaneko, alongside video excerpts of the artist’s opera design for Wolfgang Amadeus Mozart’s The Magic Flute.
Stemming from his ongoing concerns regarding spatial relationships and installation, Kaneko has fluidly moved between his sculpture and theater practice. The late art critic Arthur C. Danto applauded Kaneko’s previous opera design (for Madama Butterfly) stating that, “The production unfolds like a shared dream.”
The exhibition highlights the imaginative color palettes along with the bold and organic patterns that have become a creative signature for Kaneko’s interdisciplinary aesthetic. Discussing his glazing process, the artist remarked that, “I start thinking about orchestration of the colors around the work as a whole… sort of like a symphony. Everything has to make an interesting harmony to become one, to be there as one statement.”
With this installation of Kaneko’s Dango (freestanding stele forms) and wall-mounted slab works, a new conversation can begin between the artist’s studio and his contributions to the opera stage. Within the varying forms of his Dangos, their figurative presence is transformed to the theatrical. The exhibition is presented on the occasion of the east coast debut of The Magic Flute at the Kennedy Center in Washington, D.C. alongside an installation of monumental Dangos in the Hall of Nations.
Jun Kaneko (born in Nagoya, Japan) lives and works in Nebraska. The artist has shown extensively in the U.S. since 1964 and has had exhibits in Finland, Norway, Japan, South Korea and Canada. Kaneko’s work is in over fifty museum collections throughout the world including the Arabia Museum, Helsinki, Finland; Detroit Institute of Arts; Los Angeles County Art Museum; Museum of Art and Design, NY; The National Museum of Art, Osaka, Japan; Philadelphia Museum of Art; Phoenix Art Museum; Rhode Island School of Design Museum; Metropolitan Museum of Art and the Smithsonian American Art Museum. In 2013, Kaneko’s recent sculptural works were the focus of a large-scale installation in Millennium Park in Chicago.
Kaneko’s design for the opera Fidelio debuted at the Kimmel Center in Philadelphia in 2008. The east coast debut of his design for the opera Madama Butterfly became the catalyst for a citywide celebration in Philadelphia with sculptural exhibitions at the Kimmel Center’s Commonwealth Plaza, City Hall, the Philadelphia Museum of Art, and at Locks Gallery.
Coinciding with the Locks Gallery exhibition is a sculptural installation in the Kennedy Center’s Hall of Nations from April 9th through May 19th, 2014. The Magic Flute— featuring Jun Kaneko’s set, projection, and costume design—will run at the Kennedy Center from May 3rd through the 18th, 2014.
Inaugurating our new space at 1639 Market Street, Nathan Lynch will present a series of ceramic work which, like the gallery itself, recalls the past while grappling with an unsure future.
Motivated at first as homage to his late teacher Ken Price, Nathan Lynch’s abstract ceramic and wood sculptures make physical the difference between what we want and what we get. The work consists of abstract “blobjects” that appear to slump, sag, burst, drip, and ooze off of their platforms. Like a 4-day old helium balloon that is neither all the way up nor completely down, the forms hover in the layered emotions between elation, confusion, and disaster, suggesting the potential futility in even our best efforts. As Nathan describes; “In all levels of our life, we are in constant pursuit of the best solutions, from personal fitness and desktop applications to the national political debate. By remodeling this idealism, my work questions our value systems, revealing ironic, contradictory, and embarrassing culture narratives.”
Nathan Lynch was raised in Pasco, WA, an agricultural community in the shadow of Hanford Nuclear Power Plant. This environmental contradiction gave Lynch an acute sense of location and deep appreciation for irony. In the five formative years after graduation Lynch worked as the prop master for a local community theatre, the effects of which are still being realized in his current body of work. His concerns for political conflict and environmental upheaval are filtered through notions of absurdity, hand fabrication, and the dramatic devices of storytelling.
As a sculptor and performance artist, Lynch has made collaboration and experimentation major components of his practice. Recent projects include a residency at the Exploratorium, habitat restoration design for Ashy Storm Petrels on the Channel Islands, and a reinterpretation of David Ireland’s Dumballs for Southern Exposure’s 39th anniversary show, The Long Conversation. He is currently included in YBCA’s Bay Area Now 7 in San Francisco. At the University of Southern California Lynch studied with Ken Price, and later earned an MFA at Mills College with Ron Nagle. Lynch is an Assistant Professor and Chair of the Ceramics Program at California College of the Arts.
Emma Woffenden continues to explore the figure and the fragmented body in her latest sculpture series, ‘Falling Hard’.
Using a variety of mixed materials including glass, jesmonite, polystyrene, clay and metal, Woffenden creates a discourse around the interconnectivity of the body as a physical and psychological site and the impact of what the body – whole or fragmentary – expresses. The influences of social structures and the dynamics of power relations on the individual imbue her sculpture with a palpable sense of internal conflict.
Interpretation of contradictions and opposites is a pervasive theme in this new series of work; how internal emotional experience is expressed through theexternal action of the figure, the aesthetics of symmetry and asymmetry, the erotic and fetishistic power of religious sculpture, culminating in the unsettling yet exquisite appearance of her sculptures. The dualities Woffenden confronts in the ‘Baby Hammer’ hybrid object - corporeal and material, playful and brutal, fragile and resilient - hint at violence both real and symbolic.
Woffenden’s uncanny forms trespass upon the viewer’s imagination, casting an oblique light on the human condition.
Emma Woffenden (b. 1962) studied at West Surrey College of Art & Design (1981-1984) and the Royal College of Art (1991-1993). She employs a full range of complex glass and mixed media techniques to make works that explore the power of myth and archetypes, and the human condition. Widely recognised as one of Britain’s leading glass artists, her work is included in a number of international public collections, including the Victoria & Albert Museum, Wellcome Trust and the Crafts Council, London; Ernsting Glass Museum; Broadfield House Glass Museum, West Midlands. Her award winning designs for Transglass can be found in the collection of the Museum of Modern Art, New York. She was appointed North Lands Creative Glass Artistic Director in October 2013. She lives and works in London and France.
Cross MacKenzie Gallery is pleased to present “SCORES” an exhibition of new ceramic sculpture and photographs by three artists whose work is based on repeating dozens or “scores” of elements to create something greater than the sum of their individual parts. Each artist’s work is full of repetitions, multiples, and variations of a seemingly simple form, built up to a greater whole, creating order out of disorder. Together, the pieces are in conversation with one another.
Michael Fujita’s ceramic hand rolled tubes are laid row upon row until a handsome vessel takes form. Glazed in blues and greens, the macaroni-like bowls evoke various visual textures, drawing upon our tactile sensibilities. This is a labor of love, patience, and detail, and it therefore comes as no surprise that the artist experienced carpal tunnel syndrome while building these works. In his previous show at our gallery, Fujita’s repeated element was individually glazed spheres the size of gumballs, each work was multi-colored and looked almost machine-made. His new work, however, differs in its monochromatic palette, and the ragged edges serve to emphasize the handmade aspect of the vessels. Stacked one by one, each tube is completely unique, and the overall effect is of an entity growing organically of its own accord.
Linda Lopez’ ceramic sculptures are also labor intensive. Like Fujita, she becomes entranced in her repetitions and creates rather comical furry shapes that are reminiscent of sea anemones. Her clay teardrops elegantly melt down along the surface and are placed layer upon layer until the entire form is covered as densely as a head of hair. Lately she has extended tendrils from the core opening up her monoliths into the surrounding space, growing outward.
John Cole’s new series of photographs called the “Full Bleed Series” at first glance seem like Washington Color School paintings, Gene Davis-like, made of multiple stripes of color. The fact that these are actually extreme close-up views of the edges of stacked magazines is a delight. By refocusing one’s eyes to take in the tiny scale of the magazine page colored edges, it simultaneously gives us a way of looking at the ceramics. His observations give us a full perspective by both zooming in and zooming out of focus. Each image is made of scores of pages, not only filling the frame of the photograph, but also continuing past the edge of the frame, implying an endlessly repeating pile of magazines.
"I fell in love with both the material and the vessel as a magical form; but it was a long time before I realised how I wanted to use it… I was seduced by the alchemy of change where you take a material…and it is transmogrified into something else."
Born in Staffordshire in 1934, Henderson became interested in painting and sculpture while working for a timber company in Cardiff and started attending evening classes at the local art school. In 1964 Henderson began a foundation course at Goldsmiths College in London where he first encountered clay. Later he would study ceramics under, among others, Hans Coper and Lucie Rie, at the Camberwell School of Art. But he always made time to draw and paint. He graduated in 1968 and continued his studies at Edinburgh College of Art before returning to London.
Hendereson very soon left the wheel behind and moved to the freedom of hand-building. Throughout his career he explored clay as a medium in its own right, and said of his work that:
"It explores the significance of what is broken, torn or cut, the ability of single or multiple forms to speak of either compression or expansion, flatness or fullness. It is a kind of drawing in three dimensions. I start with fragments - familiar, found, improvised - and then build up to complex structures that invite the observer to complete the circuit, so to speak, by considering such matters as memory, invention and metaphor."
In parallel with ceramics his passion for painting continued throughout his career, with watercolours, gouaches and collages becoming increasingly inseparable from his ceramics.
Ancient cultures, geological forms and landscapes were persistent influences during his career - Avebury, Eden Valley in Cumbria, the Rollright Stones in north Oxfordshire, Orkney, and Manorbier in Pembrokeshire where he had a home for the last year of his life.
Dates: August 11-25, 2014 Location: Mark Rothko Art Center, Daugavpils, Latvia
International Ceramic Art Symposium “LANDescape” 2014 is a joint initiative of Daugavpils Clay Art Center and Daugavpils Rothko Art Center which emerged from both partner organizations’ activities and cooperation aimed at promoting contemporary art, including contemporary ceramic processes in Latvia.
In the framework of planned ceramic symposium “LANDescape”, drawing inspiration both from Latvian nature and cultural space, as well as personal world, the participants are invited to create unique ceramic art works with their chosen materials and techniques, although there is a conjunctive theme, that indicates „spurting”, „escaping” „getting away”, etc.
The “LANDescape” symposium is being organized for the second time, and this year’s symposium is assigned with an additional title - Ceramic Laboratory. This year our aim is to create a kind of laboratory, where artists experiment and share their experience with each other in different ceramic firing technologies. While choosing the symposium participants, priority will be given to artists who, alongside the creative work will offer a firing master class and/or public lecture dedicated to the ceramics or ceramic technologies, which will subsequently be published in the catalogue of the symposium.
Symposium Organizers: Daugavpils Mark Rothko Art Center in collaboration with association „Daugavpils Clay Art Center” Symposium aims: 1. To create unique contemporary ceramic objects for Latvian art and cultural space, to create a platform for artists to exchange experiences and generate creative idea, as well as to promote contemporary ceramic processes in the society; 2. To promote high quality contemporary art availability to public, raise public interest in culture, preservation of cultural heritage, to promote the creation of new artworks and their collections.
Symposium participants: 15 professional ceramists participate in the Symposium. Selection of the participants will be held taking into consideration the materials sent (Application, CV and visual information that are sent, taking into consideration the regulations below).
Symposium organizers’ liabilities: 1. Artists’ accommodation costs in Daugavpils (hotel and meals); 2. Working studios; 3. Working materials: clay (1000 ºC), chamotte clay (1000-1100 ºC), glaze. 4. Opportunity to use wood-firing kiln, electric kiln, as well as a chance to explore different types of individual firing; 5. Publicity (information in mass media, publishing of symposium catalogue); 6. Recreation possibilities: tour around the city and region, visiting educational arts establishments in Daugavpils; 7. Opportunity to present a creative work; 8. Symposium opening exhibition (opening on August 12, 2014); 9. Symposium final exhibition (opening on August 23, 2014).
Artist liabilities: 1. Travel costs to Daugavpils and return home; 2. Other materials and instruments necessary for work; 3. Workshop and/or lecture presentation in frame of the symposium; 4. To donate one art work from symposium opening exhibition to Daugavpils Mark Rothko Art Center (art works should be brought to the symposium opening exhibition); 5. To donate one art work, which will be created during the symposium, and which will be chosen by specially organized jury, to Daugavpils Clay Art Centre; 6. During first 5 days after receiving the invitation, an artist needs to confirm his/her participation (until July 10, 2014).
Edmund de Waal: Atmosphere / Turner Contemporary, Margate, Kent
Edmund de Waal: Atmosphere / Turner Contemporary, Margate, Kent March 29, 2014 - February 8, 2015
Edmund de Waal: Atmosphere presents a new installation by the renowned ceramic artist and author. De Waal, who grew up in Canterbury and is best known for his large installations of porcelain vessels and the international bestselling book Hare with the Amber Eyes, showcases a major new commission for Turner Contemporary’s Sunley Gallery. This is the third commission produced for the Sunley Gallery following those by Maria Nepomuceno in 2012 and Daniel Buren in 2011.
For this ambitious project the artist has created an installation in response to the space, light and architecture of the Sunley Gallery with its double height windows and spectacular views over the North Sea. Atmosphere (2014) comprises of a series of 9 large, suspended vitrines that are in conversation with the mutable light from the sea.
Suspended at different heights, the lines of the 20-40 vessels within each of the vitrines offer the viewer an array of horizons as they move through the space both on the gallery’s ground floor and from the overlooking balcony. In Atmosphere De Waal brings the changing weather into Turner Contemporary and echoes the ways in which artists as diverse as Gerhard Richter, Hiroshi Sugimoto and JMW Turner have thought about clouds and horizons.
This commission will be accompanied by two other works by the artist. Juxtaposed alongside Atmosphere is Bauspiel, a group of vessels residing on a floor based plinth in a configuration which reflects those in the nearby suspended vitrines. Turner Contemporary’s ground floor corridor is transformed by a new wall-based text installation, which sees De Waal convert the corridor walls into a life-size notebook, drawing on an array of sources from Turner’s letters to the poems of Baudelaire.
Edmund de Waal states: “When thinking about the changing landscape of clouds, I remember Constable’s beautiful letter about lying on his back and doing ‘a great deal of skying’. There is no more extraordinary place to look at the sky than the Sunley Gallery at Turner Contemporary. Atmosphere is my attempt to make a response to this threshold between a building and the air outside. Suspended in the space are nine vitrines holding 200 small celadon and grey porcelain vessels. I hope they will provoke some skying of their own.”
The exhibition coincides with a new monograph, Edmund de Waal published by Phaidon Press and featuring contributions from AS Byatt, Peter Carey, and Colm Toíbín amongst others. Edmund de Waal, which will be released on 5 May 2014, will be the first and only complete survey of the artist’s career to date, weaving together both his literary and ceramic practices.
Edmund de Waal was born in 1964. He studied English at Cambridge University and ceramics in both England and Japan. De Waal is best known for his large scale installations and much of his recent work comes out of a dialogue between minimalism, architecture and music, and is informed by his passion for literature.
State of Flux / An Talla Solais, Ullapool, Scotland
State of Flux / An Talla Solais, Ullapool, Scotland April 17 - June 1, 2014
Featuring work by: Edina Andrási, Artúr van Balen, Fiona Byrne Sutton, Melanie Davies, Sinéad Dunn, Morgane Deffense, Tilly Gifford, Nicola Henderson, Kevin Morris, Emma Pratt, Ester Svensson. Curated by Kevin Morris and Fergus Stewart.
Clay, in a state of perpetual flux, formed formed by the earth and then in the hands of the artist, will be transformed again in the eyes of visitors to this exhibition at An Talla Solais. Led by two artists, Fergus Stewart a well-established potter in the highlands and Kevin Morris a highly acclaimed new graduate from Aberdeenshire, State of Flux features a wide range of handmade and unique pieces of ceramic art from eleven of Scotland’s finest graduates.
Artúr van Balen’s installation of porcelain chickens reinvents the polystyrene wrapped, headless mounds of poultry meat bought in supermarkets into precious and valuable objects, these ceramic sculptures were cast in Berlin where porcelain was once more expensive than gold.
‘A Journey’ by Ester Svensson creates an imaginative world using porcelain, wood and string. Strange creatures and morphed forms which are delicately glazed create a three-dimensional fairy tale, open to interpretation.
These pieces contrast well with the aesthetic of Fiona Byrne-Sutton’s press moulded vessels, which are physical expressions of geological processes. Her vigorous handling of clay is a balance of risk and control. Each of her vessels are unique, formed with black stoneware and embedded with clays she digs up near the principal rivers of Scotland. Nicola Henderson’s open formed vessels are also rich in geological reference. Her vessels are influenced by a type of metamorphic rock known as gneiss. Deep beneath the earth’s crust these rock are formed under huge temperatures and pressure causing separate layers to form which compress and distort, giving the impression of waves and movement. Henderson has developed this layering effect in an attempt to impart a subtle energy and flow. She says ‘I wanted to reflect the fact that though we think of rock as something static, unmalleable and permanent, it is in a state of flux, having a life cycle of its own, changing and recycling itself over millions of years’.
Alongside this exhibition runs a series of educational activities using clay, including artist-led workshops in slip casting, mold making, throwing, and constructing and firing in an outdoor kiln. These activities are designed to introduce participants to the different ways of working with this inspiring material through hands-on experience. These workshops will be taught by artists involved in the exhibition, providing a very rare opportunity for visitors to interact with real specialists and explore new art forms, literally getting their hands dirty!
The project State of Flux has grown out of the fact that opportunities to learn how to work with clay have dwindled a great deal over recent years. In 2012 Scotland’s last specialist degree course in Ceramics closed and it is no longer possible to study this subject as a full degree. An Talla Solais has acquired a brand new kiln in the light of this lack and this exhibition is just the beginning.
Thanks to Highland Stoneware and Breedon Aggregates who sponsored this exhibition.
Anna Maria Maiolino. Between Senses / Hauser & Wirth, New York
Anna Maria Maiolino. Between Senses / Hauser & Wirth, New York May 7 – June 21, 2014
Opening reception: Wednesday, May 7, 6–8 pm.
Anna Maria Maiolino is one of the most significant artists working in Brazil today. In a career spanning five decades and a diversity of disciplines and mediums, ranging from drawing, sculpture, and artist books to video and performance, she expresses through her art a bottomless concern with creative and destructive processes and, above all, the never-ending search for identity. Maiolino’s multidisciplinary practice has consistently explored the viscerality of embodied experience – often obliquely through fragmentation and abstraction – and engaged the human body’s processes as analogs for both the making of art and the making of modernity. As an immigrant coming of age in politically unstable Brazil, Maiolino has perfected a dialogue between opposite yet complementary categories in a practice that dissolves dichotomies of inner and outer, self and other. Hers is an art in search of a new language for the liminal realm of daily human existence.
Beginning 7 May 2014, Hauser & Wirth will present Anna Maria Maiolino. Between Senses, the gallery’s debut exhibition devoted to the artist. On view will be a selection of drawings, works on canvas, sculptures, photographs, and videos, as well the sound installation ‘Two Beats’ (2012), which features the artist’s poem ‘Eu so Eu (I am I)’ that was presented at dOCUMENTA 13.
Born in wartime Italy in 1942, Anna Maria Maiolino immigrated with her family to South America in 1954, living first in Venezuela and moving to Rio de Janeiro in 1960. ‘I found myself being an immigrant again, without speaking Portuguese’, the artist recalls. ‘What kept me going was my obstinate search for a language, my obsession to become an artist. All my energy was spent trying to become an individual. The existential and art formed one anguished body. My life was dominated by anguish and doubts, although I also wanted to participate in that moment of great political, social and artistic effervescence that was pushing artists to make alliances with the previous generations… We wanted to develop an autonomous national art, far removed from external patterns and models. We dreamt of a free and autonomous Latin America, with its own economic resources, and art was no different in this respect’.
Maiolino’s early experiments in the 1960s connected her to important movements in Brazilian art history, shadowed by the turmoil and governance of military repression: Neo-Concrete, New Figuration, New Objectivity. Maiolino took part in the radical reconfiguring of the art object – and thus the art institution and the artist – during this period. Along with Lygia Pape, Lygia Clark, and Hélio Oiticica, Maiolino participated in the 1967 exhibition, ‘New Brazilian Objectivity,’ which symbolized a cultural shift in previous constructivist traditions and established a new vision for the production of art in Brazil. After living in New York from 1968 to 1971, she returned to Brazil and devoted herself to drawing as a means of self-expression. Working to further define her identity as both an individual and an artist, she initiated a new series of works on paper that gave emphasis to the gesture, the action, and the process of making. Since the 1990s, Maiolino’s drawings – examples of which are included in the exhibition at Hauser & Wirth – have engaged similar methodologies in her continual exploration of other materials and media, from sculpture to video and installation.
Annabeth Rosen / Ventana244, Brooklyn May 2 – June 14, 2014
Opening reception: Friday, May 2, 6–9 pm.
Ventana 244 is pleased to present new work by Annabeth Rosen, who will be showing a group of pieces developed over the last few years - lumpen forms with rich, densely packed and cracked molten surfaces. The shapes and surfaces seem to have emerged from the natural world and are described in her words as “…reduced in scale into concentrated simple forms… Heaps or hives or nests, sometimes with a human interference, formed by an intensive, focused energy. Against the weight and the impervious nature of fired ceramics, they seem to be in flux, slowly heaving and settling. Unsure if the works are found or formed… they infer yielding and resistance, thoughtfulness and recklessness…”
In the catalogue, Nancy Princenthal writes about Rosen’s work and includes this quote from Lucretius: “No rest, we may be sure, is given to atoms in the void abyss but rather, as unceasing different movements impel them, some, colliding, leap great intervals apart, while others recoil only a short distance from the impact… “
Rosen holds the Robert Arneson Endowed Chair in Ceramic Sculpture at The University of California Davis and is represented by Gallery Paule Anglim and Beam Contemporary Art. Her work can be found in the collections of The Boston Museum of Fine Art, The Philadelphia Museum of Art, The Los Angeles County Museum of Art, The Oakland Museum of California, and The Denver Art Museum, and in many private collections.
A catalogue of Rosen’s work from 1989 to the present includes an essay by Nancy Princenthal was published for the exhibit with support from Beam Contemporary and The University of California Davis. The exhibition is curated by Josie Browne and organized by Dan McCarthy.
Landscape as the scene of everyday life. Sculptures as concrete drawings in space. Huge, robust ceramic dishes are set against more fragile, sinuous accumulations of abstract form in the exhibition of Marit Tingleff and Martin Bodilsen Kaldahl at Copenhagen Ceramics.
X–Scapes is the title of the joint exhibition by Norwegian ceramicist Marit Tingleff and Danish artist Martin Bodilsen Kaldahl. The title refers to ’scape’ as in landscape, while also pointing to numerous other possible scapes - physical and mental scenarios– anything from seascape and cityscape to mindscape; from the concrete to the abstract.
This x-scape represents the pivotal point of the meeting in clay between the two artists, where, in spite of the obvious differences in their artistic expression, the ambience of their work overlaps and visual resonance appears.
Marit Tingleff is internationally renowned as one of Norway’s greatest contemporary ceramic artists.Throughout her career she has consistently worked with, and against, the deep-rooted cultural layers of ceramic tradition.
Her particular strength lies in her ability to express the monumental character inherent in everyday phenomena. She manages to elucidate the metaphorical qualities of even the most ordinary functional objects, precisely by insisting so powerfully on their familiar and beloved forms. These are often presented in a monumental format - very large ceramic dishes or platters are her particular subject.
In the work she will be showing at Copenhagen Ceramics, she treats the landscape as a painterly theme with reference to early faience tableware. Blue landscapes were favoured as subject matter and are still found on plates, cups and dishes in many homes. Tingleff uses the landcape of her own daily life as a starting point for an interpretation of these ceramic landscapes.
In a very different manner, a sense of being within landscape is equally the theme for Martin Bodilsen Kaldahl, in an abstract vein. In his ceramic sculpture the underlying agenda is to emphasize simple existence in space. Characteristically, he insists that even the most casual, banal gesture in space can be made important through a precise formal elaboration. Here is the crossover with Marit Tingleffs work: both have a vigilant eye for the monumental within the seemingly insignificant.
In his new works, entitled Spatial Drawings, he aims to establish the conditions for creating an intuitive, spatial form. He sets up his own obstacles to avoid consciously planning the figures. Out of endless small bits of clay tubes he builds parts that are then assembled into larger structures, which move around in space - dancing, groping their way, rising and falling. Like sculptural equivalents of semi-consciously scribbled doodles, they just exist – perhaps they emerged out of a void of thought – a distracted sense? They could have looked completely different. A pure sculptural movement. A captured account of the here and now.
Alison Jacques is proud to present its fourth solo exhibition of the late American artist Hannah Wilke (1940 – 1993). For this show, the focus is on Wilke’s sculpture from her early terracotta works of the ‘60s through to the more richly coloured installations of the ‘80s. The show also encompasses the theme of her body as sculpture seen in performative photographs as well as drawings from the ‘60s and ‘70s which either refer to her sculptures or demonstrate a visceral physicality that feels completely in dialogue with her sculptural practice.
The gallery has worked in partnership with The Hannah Wilke Collection & Archive, Los Angeles, who have enabled us to assemble a succinct survey of iconic and lesser-known works which shed light on the many aspects of Wilke’s sculptural vocabulary. One of her earliest and most important sculptures That Fills Earth, (1965) is an earthy terracotta cube opening into organic forms. By pairing this explicit symbol of Modernism: the cube, with quasi-Metaphysical essentialism, Wilke demonstrates an idea of the “Modern Woman” – deconstructing a complicated living being into an ostensibly simplistic material form.
The show continues with a survey of sculptures that have been widely identified by scholars but rarely seen in public – from a trio of bronze sculptures, Athens (1979) to examples of her Generation Process Series grid groups from the mid-1980s. In each of the latter, Wilke placed hand-painted ceramic sculptures in geometric arrangements across painted boards, employing colour, pattern and her signature folded-gesture forms to both acknowledge and subvert her male contemporaries’ obsession with the mathematics of grid systems.
The main focus of the show is Wilke’s choice of materials and what they represent. In the exhibition catalogue to accompany Gestures, the most comprehensive survey of Wilke sculpture to date (Neuberger Museum, New York, 2008), the curator Tracy Fitzpatrick states: “Wilke’s practice is rooted in her devotion to malleability and her interest in vulnerability. Throughout her career she created art from unusual materials, plastic and fragile in composition, and then placed these objects in compromising situations – hinged with pins or glued to walls and boards, placed freely on the floor, always seemingly on the verge of disaster, always questioning: Will it fall? Will it crack? This vulnerability, so much a part of Wilke’s work, is also carefully constructed strategy, perilous but orchestrated by the artist. The combination of these seemingly opposing forces creates a unique tension throughout her artistic production.”
An area of Wilke’s work, which is shown here in depth, are the kneaded erasers series from the 1970s, in which Wilke used simple everyday grey colour erasers and adapted this material into an entire series of work. Wilke placed her kneaded erasers, moulded into little gestural folded forms, onto various surfaces including boards on plinths but also everyday utensils such as Fork and Spoon (1974) and vintage postcards including Sea Wall (1975), and The Beach, The Pines, Cotuits, Mass (1977). Other materials including Wilke’s signature chewing gum are present in the show, from photographs which make up the iconic SOS series to her lesser known large-scale photographic work called California Series where Wilke photographed her gum sculptures outdoors attached to foliage and flowers.
Earlier this year, The Guardian newspaper described Hannah Wilke as “one of the most subversive women artists in history”. Throughout this exhibition, in whatever medium her sculptural forms reside, we are constantly reminded that Wilke saw no contradiction between creating pioneering, confrontational works that helped redefine the extent of feminist activism, whilst creating aesthetically pleasing forms. Wilke was an unapologetic aesthete, stating in an interview with Lil Picard in 1973: “The concept of the disagreeable object had offended me, and I decided to make ‘agreeable objects’. I don’t feel happy on any level with disagreeable forms – I love beautiful things”.
The Arkansas Arts Center, the state’s leader in international, visual and performing arts, presents the exhibition, InCiteful Clay, on view April 4 - June 29, in the Winthrop Rockefeller Gallery.
“This exhibition of brilliantly expressive ceramics offers extraordinary insight into the artists’ creative imaginations,” said Arkansas Arts Center chief curator and curator of contemporary craft Brian Lang. “Each work in the exhibition tells a unique and compelling narrative and illustrates the diversity and limitless potential of the clay medium.”
Artists have long used their creations as powerful vehicles to confront current and major societal issues, moving beyond paintings, sculptures, prints and photographs to installations and electronic media over the last century. Social concern has also become an area of increasing interest in contemporary craft.
For more than fifty years, the Arkansas Arts Center has been a leader in collecting and exhibiting contemporary craft. InCiteful Clay continues this tradition and is a follow-up to the landmark exhibition, Confrontational Clay: The Artist as Social Critic, which was also presented by the Arkansas Arts Center in 2000. This national travelling exhibition offers an unparalleled overview of an emergent movement in contemporary ceramics dedicated to social commentary.
Incorporating a broad range of work, InCiteful Clay includes approximately 35 ceramic sculptures by artists who utilize a millennia-old medium to create provocative critiques of contemporary social, political, cultural and environmental issues. The exhibition is organized around five themes: war and politics; the social and human condition; gender issues; environmental concerns; and popular and material culture. The artists have conveyed their messages in styles that are aggressive, violent, disturbing, irreverent, and at times, humorous, but all the while ever passionate. They rely on figurative imagery, narrative content, and a range of expressive avenues, including caricature, parody, satire, obscenity, erotica and the grotesque.
Featured artists in the exhibition include: Toby Buonagurio, Nuala Creed, Michelle Erickson, Richard Notkin, Anne Potter, Richard Shaw, Akio Takamori, Ehren Tool, Patti Warashina and Paula Winokur, among others. Among the specific topics they address are: the social consequences of war, the impact of declining moral values on children, capital punishment, consumerism and global warming.
Traditionally, ceramics have served functional and decorative purposes and have been associated with positive experiences. Visitors to this exhibition will come away with a new appreciation for the expressive capabilities of clay media to convey substantive content and to deliver the powerful critiques more routinely seen in painting and sculpture.
InCiteful Clay is organized and circulated by ExhibitsUSA, a national division of Mid-America Arts Alliance, with the Arkansas Arts Council and The National Endowment for the Arts. The exhibition is curated by Judith S. Schwartz, Ph.D., an internationally recognized specialist in contemporary ceramics. A professor and director of craft media in the Department of Art and Art Professions, New York University (New York, New York), Schwartz recently published a groundbreaking study of this movement within ceramic art, Confrontational Ceramics: The Artist as Social Critic (Philadelphia: University of Pennsylvania Press, 2008).
Sara Radstone describes her work as ‘a lifetime obsession with things that are overlooked or discarded’. Thoughts of archived objects and the traces or fragments of long redundant artefacts all haunt her work; they represent, as she puts it, the ‘frozen remains of what might have been.’
Her most recent sculptures on the theme of distant and fragile memory make reference to both past works and more universal themes. Some aspects of her investigation include the re-envisioning of her personal visual language. She speaks of ‘Re-visiting a sense of volume and seeing it differently’, to overturn the original idea to the degree of ‘going to the absolute opposite’. Thus formerly enclosed shapes are now ripped open, while a delicate, skeletal wall-mounted piece, composed of frail fragments, makes poignant reference to an earlier sculpture, sadly lost alongside numerous other contemporary British artworks in the MoMart warehouse fire of 2004.
Traces of thoughts and the notion of ideas gradually taking shape and accumulating over time are also represented in a series of folder or book-like forms. These thin and precarious objects appear dry and brittle, torn, scratched and punctured, while bearing the sheen of use. Radstone found herself returning to work on the books almost as a daily ritual; as such they became the focus of her interest in ‘building up a sort of diary of marks’, serving as a record of ‘the struggle to express things on their pages’.
Sara Radstone (b.1955) studied at Herefordshire College of Art (1975-76) and Camberwell School of Art & Design, London (1976-79). She has exhibitedinternationally and her work can be found in numerous public collections including the Los Angeles County Museum, USA; Shigaraki Cultural Park, Japan; and the Victoria & Albert Museum, London.