Reception: Thursday, March 21, 6-8 PM.
NCECA’s National Student Juried Exhibition (NSJE) is open to all full time undergraduate, graduate and post-baccalaureate students enrolled in the United States of America, except for those enrolled at the institutions of the jurors. Applicants must have been working towards a degree or be a post-baccalaureate in art at the time of submittal.
In conjunction with NCECA’s 47th Annual Conference in Houston (March 20-23), The Glassell School of Art of The Museum of Fine Arts, Houston hosts NCECA’s 2013 National Student Juried Exhibition from February 15 – March 23, 2013. A reception takes place on Thursday, March 21, 2013 from 6:00- 8:00 pm. New this year NCECA has included the 2013 NSJE artists in the 2013 NCECA Biennial catalog featuring color reproductions of works by all participating artists. This catalog may be pre-ordered on the NCECA’s Online Store.
Participating artists: Sasha Alexandra, Molly Allen, Samantha Bachman, Cori Crumrine, Stephanie Galli, Tyler Houston, Kahlil Irving, Michelle Laxalt, Kathryn Whistler, Tiffany Bailey, Melisa Cadell, Heather Davis, Virginia Eckinger, Thomas Edwards, Marty Fielding, Marisa Finos, Donna Flanery, Anastasia Gabriel, Nick Geankoplis, Violet Goode, Elizabeth Head-Fischer, Natasha Hovey, Michael Hurley, Ah-Young Jeon, Kevin Kao, Lauren Karle, Margaret Kinkeade, Jennifer Kirkpatrick, Robert Kolhouse, Shasta Krueger, Yeon Joo Lee, John Loveless, Marsha Mack, Leslie Macklin, Ashley Maxwell, Spring Montes, Norleen Nosri, Sara Parent-Ramos, Alia Pialtos, Brian Pierce, Louis Reilly, Justin Schortgen, Mitchell Spain, Diana Synatzske, Kristen Tripp, Josh Van Stippen, Austin Wieland, Bill Wilkey, Wesley Wright, Crisha Yantis.
Jurors: Bonnie Seeman, Kevin Snipes.
Bonnie Seeman received her BFA from the University of Miami in 1991, and her MFA from the University of Massachusetts/Dartmouth in 1996. She is a two-time recipient of the Florida Individual Artist Fellowship, and has twice served as a panelist for the Florida Fellowship. Seeman was nominated for a USA Fellow grant in 2010 and was awarded The Louis Comfort Tiffany Foundation 2005 Biennial Award. A participant in numerous international and national exhibitions including Art Basel, Switzerland; Art Brussels, Belgium; and the World Ceramic Biennale, Korea, Seeman’s work is featured in many museum collections including the Metropolitan Museum of Art, New York, New York; the World Ceramic Exposition Foundation International Collection, Icheon, Korea; the Sadberk Hanım Museum, Istanbul, Turkey; and The Carnegie Museum of Art, Pittsburgh, PA. Seeman has taught as a summer faculty member at Anderson Ranch Arts Center and Santa Fe Clay, and has presented visiting artist workshops at numerous art centers and universities across the U.S. She currently teaches at Florida Atlantic University, Boca Raton, FL, and serves on the board of Watershed Center for the Ceramic Arts.
Kevin Snipes combines his love of constructing unconventional pottery with an obsessive need to draw on everything that he produces, creating a uniquely dynamic body of work. Snipes received a B.F.A. in ceramics and drawing from the Cleveland Institute of Art in 1994 and completed graduate school at the University of Florida in 2003. Since then, Snipes has led a seemingly nomadic artistic life, constantly making no matter where he is. He has participated in several artist residency programs including the Clay Studio in Philadelphia and Watershed Center for Ceramic Arts in Newcastle, Maine; and, he received a Taunt Fellowship from the Archie Bray Foundation in Montana 2008. Exhibiting nationally and internationally as far away as Jingdezhen China, Snipes had a recent solo exhibition at the Society of Arts and Crafts in Boston. Kevin Snipes currently resides in New Mexico.
Award presentation & Reception: Thursday, March 21, 5:30 - 9 PM.
Held in conjunction with the Annual Conference in odd-numbered years, the NCECA Biennial is the premier juried exhibition open to all current members of NCECA (both national and international) and to all ceramic artists, 18 years and older, residing in the U.S.
Houston Center for Contemporary Craft will host the 2013 Biennial Exhibition from January 26 - May 5, 2013. The opening reception will take place on January 25, 2013 and a reception will also be held during the Houston Conference on Thursday, March 21, 2013 from 5:30 - 9:00 pm. NCECA produces a color catalog featuring work by all participating artists and may be pre-ordered through NCECA’s Online Store. Remaining copies may also be available for purchase at conference.
Participating artists: Nicole Aquillano, Christa Assad, Tom Bartel, Nicholas Bivins, Renée Brown, Josephine Burr, Gary Carlos, Lisa Cecere, Du Chau, Andréa Keys Connell, Emily Connell, Shenny Cruces, Elizabeth DeLyria, Sharan Elran, Léopold L. Foulem, Teri Frame, Chad Gunderson, Sarah House, Erica Iman, Ryan LaBar, Thomas Lane, Lauren Mabry, Ted Neal, Tybre Newcomer, Claudia Olds Goldie, Vijay V. Paniker, Joseph Pintz, Paolo Porelli, Audrey Rosulek, Joel Schroeder, Linda Sormin, Mark Nathan Stafford, Michael Strand, George Timock, Triesch Voelker
Jurors: Cristina Cordova, Namita Gupta Wiggers, Richard Notkin
Internationally acclaimed for her hauntingly, provocative figurative sculptures, juror Cristina Cordova has a well-established record of museum exhibitions including: Fuller Craft Museum, Brockton, MA; Museum of Contemporary Art, Puerto Rico; Museo de Arte de Puerto Rico, Puerto Rico; Mint Museum of Craft + Design, Charlotte, NC; Mobile Museum of Art, Mobile, AL; Gretchen Keyworth, Society of Arts & Crafts, Boston, MA and the Joseph -Schein Museum, NY. A highly respected workshop teacher, Cristina has led numerous workshops in figurative art in universities and art centers such as: Armory Arts Center, Haystack Mountain School of Crafts, Anderson Ranch Arts Center and Penland School of Crafts where she serves as a trustee. A graduate of Colegio de Agricultura y Artes Mecánicas, Mayagüyez, Puerto Rico and New York State College of Ceramics, Alfred University; Cristina’s work challenges gender and racial boundaries while engendering discourse on intellectual conventions and social mores. Cristina recently exhibited her art in Bestiario at the Morean Arts Center, St. Petersburg, FL during the 2011 NCECA conference and in Push Play: The 2012 NCECA Invitational at Bellevue Arts Museum.
Namita Gupta Wiggers is curator at the Museum of Contemporary Craft in partnership with Pacific Northwest College of Art, Portland, OR, where she directs the exhibition, collection and public programming. Her curatorial work combines her experience and training as an art historian, a museum educator, ethnographer and design researcher, teacher, writer, and studio art jeweler. Through exhibitions and programming, Wiggers considers how craft and design function as subjects and verbs, and as simultaneously distinct and intersecting practices, and how the exhibition operates as a site and space for cultural inquiry.
Recent publications include Generations: Betty Feves (forthcoming), Ken Shores: Clay Has the Last Word (2010), and Unpacking the Collection: Selections from the Museum of Contemporary Craft (2008), the first publication to document the Museum’s collection and the institution’s connections to dramatic changes in craft-based and artistic practice over the past 70 years. Wiggers edited Garth Clark’s How Envy Killed the Crafts Movement: An Autopsy in Two Parts (2009) and contributes essays for museum catalogues, including Hand + Made: The Performative Impulse in Art and Craft (2010, Contemporary Arts Museum, Houston) and Innovation & Change: Ceramics from the Arizona State University Art Museum (2009, Ceramic Research Center, ASU). Her writing on contemporary jewelry includes Mining History: Ornamentalism Revisited (Metalsmith, 2009), co-authored with Lena Vigna and Curatorial Conundrums: Exhibiting Contemporary Art Jewelry in a Museum Environment (Art Jewelry Forum Website, 2010). She is the co-founder of Critical Craft Forum, and serves on the Board of Trustees, American Craft Council and the curatorial board of accessceramics, an online clay-focused database.
Richard Notkin lives and works in Helena, Montana, creating works deeply influenced by the centuries-old tradition of Yixing pottery from which he has adopted the precise working methods and a penchant for trompe l’oeil. With his artwork serving as an extension of his conscience, Richard’s ceramic sculptures and tile murals are visual explorations into social and political commentary questioning military misadventures and foreign policy around the world with particular focus on nuclear weaponry and energy. Richard Notkin received his BFA from Kansas City Art Institute and MFA from University of California, Davis. His awards include: Artist Fellowship, National Endowment for the Arts, 1979, 1981, 1988; Fellowship in Sculpture, John Simon Guggenheim Memorial Foundation and The Louis Comfort Tiffany Foundation and the Hoi Fellowship from the United States Artists Foundation. In 2008, he was elected to The American Craft Council College of Fellows. His work is in over 60 public collections including: Metropolitan Museum of Art, Los Angeles County Museum of Art, Cooper-Hewitt Museum, Carnegie Museum of Art, Charles A. Wustum Museum of Art, Mint Museum of Craft and Design, Montreal Museum of Decorative Arts, Stedelijk Museum, Amsterdam, Shigaraki Museum of Ceramic Art and Victoria and Albert Museum, London.
In ceramics the unknown is a fate for the practitioner. Emmanuel Boos and Esben both welcome unpredictability. Moreover they are provoking it. They share a playful and experimental approach to the ceramic material and their works are bred from a great curiosity towards the processes of the material.
Emmanuel Boos, now living in London, was born and grew up in France. He trained with Jean Girel, one of the big names in French ceramics, known for his works with beautiful textural glazes. Emmanuel Boos equally places the glazes at the centre of his artistic practice, but goes further. He questions the classic hierarchy, where the materials as such are regarded as undifferentiated, depending on being given form, morphe, which traditionally is considered the essential part.
For Boos form is often a pretext, a playground for glazes to develop on. His interest lies with the poetic character and sensuality of the glaze, both in a direct sense as the fusion of basic materials and in the symbolic potential of this. His works are not conceptually based; rather they express a search for beauty, that strives for a form of aesthetic contemplation appealing firstly to our senses and our emotions.
For his first show in Denmark, Emmanuel Boos will be showing both plinth and wall pieces. His intent is to draw the viewer into the glaze, inviting us to meander in its depth through poetic reverie. His forms oscillate between mysterious enclosed objects – minerals with an underlying organic presence – and thin sheets of porcelain like canvases gently folding and developing into space.
The expressive heartland in Esben Klemann’s work is clearly defined by his interest in architecture, construction and material, and a constant urge to further develop the making-processes, that are essential for the expression of the final works.
On ceramics, he states: “People envisage a lot of different things when you use the word ceramics. Images of ordinary domestic items, giant-sized-vessels, reliefs by Asger Jorn, etc. Through changes in work-methods, tools and placements, I strive to add new images to the picture, believing that ceramics has the potential to offer something more and different. I purposely draw my experiences from other sculptural areas into the ceramic process, to push it all into new directions.
You may label my work non-thematic or abstract, or see it as a formal language which communicates by establishing artistically elaborated spaces and objects, that in contrast to the ordinary, inject vitality into things.”
Opening reception: Tuesday, March 26, 6 PM.
During the period from September 21, 2009, until September 20, 2010, the French designer Guillaume Bardet drew one object a day. As an extension of this «artistic and human performance», from fall 2010 he saw to the creation of each object. He did so in collaboration with fourteen ceramists from the Dieulefit region (Rhône-Alpes, southeast France), where he had settled in 2009 in order to flee the Parisian hullabaloo.
It took a good measure of determination, passion, enthusiasm and energy for Guillaume Bardet to become the hub of an alliance built up of individuals, companies, institutions and collectivities, all of whom agreed to join this human and creative adventure with him for an over two-year period. It also demanded a great deal of nerve and talent for the designer to bare himself, revealing not only his basic concerns and strokes of imagination, but also his weak spots, his doubts and his trial-and-error approach. And all this in order to uncompromisingly give their full due to his formal and aesthetic solutions.
Guillaume Bardet entrusted the scenography for this itinerant exhibition to his friend, the designer Vincent Dupont-Rougier, insisting nonetheless on a preconception whereby time passes very slowly (a one-year period) and very rapidly (that of a single day). And this by resorting to elements in the service of simplicity, structuring and narration, so as to bring to mind both linearity and profusion, families and uses, moods and fancies.
The exhibition also brings to light various phases of inspiration, the artist’s manner of working and his search for solutions. Interspersed among each of the seasons, information is provided alongside Guillaume Bardet’s sketches, his 3D drawings, and photographs, together with a written record of the remarkably fruitful dialogue Bardet inspired between himself and the many ceramists involved. In the words of one of the latter, Guillaume Bardet found out how to «tell a story» and «seek out the lines» in each of the forms he had designed and observed taking shape in the artisans’ hands.
This outstanding personal challenge entailed a nigh-to-monacal and introspective approach in 2009; it was followed by a more collegial phase in 2010, climaxing in the production of 365 brand new ceramic works. These have since been presented as the theme of a monographic exhibition of a new kind, shown at several museums and exhibition venues partnering this initiative. The mudac represents the last lap on the exhibition’s itinerary, which included Sèvres («City of Ceramics») in France (near Paris), Le Grand Hornu Images in Belgium, the Château des Adhémar (Contemporary Art Center) in Montélimar (France), and the Maison de la Céramique du Pays de Dieulefit in 2012.
An exhibition of works on paper by Matthew Harris and ceramics by Tim Rowan.
Matthew Harris’ work on paper has been shown in many group and solo exhibitions throughout the U.K, Europe, Japan and the U.S. As drawings they are made to be seen in their own right but also to act as starting points or ‘cartoons’ for larger works that are made using dyed and painted cloth.
Working primarily from things seen, the drawings recall, interpret and explore imagery, improvising around a given theme. Matthew Harris lives and works in Stroud, Gloucestershire.
Tim Rowan was born in New York City and grew up in Connecticut along the shore of Long Island Sound. His art education began during college, receiving a BFA from The State University of New York at New Paltz before journeying to Japan for 2 years to apprentice with ceramic artist Ryuichi Kakurezaki. Upon his return he worked briefly in studios in Massachusetts and New York before receiving his MFA from The Pennsylvania State University. In 2000 he established his kiln and studio deep in the woods of the Hudson Valley.
“The works in this exhibition have all been completed over the past two years. They are made, primarily, from native clay. This is direct from the earth and unprocessed as opposed to industrially manufactured clay bodies. The forms are slowly constructed from layers, built up over days and weeks then carved. They are fired for seven days and nights in a wood fuelled kiln. No glaze is applied; the surface textures and colours are the result of the interaction of the clay, fly-ash, coals and fire.
I am constantly building on previous work – just as individual pieces evolve in the process of making, the body of work as a whole does as well. Most of my work develops from the process of making, firing, and arranging. While I may have images in my head of some specific things I have seen, for instance the remnants of an old quarry derrick abandoned in the woods near my home, once I start making, new forms emerge. There is a search and discovery.
I am particularly drawn to objects in various states of decay – either through use over time such as tools or the effects of the “elements”. Everything is in a constant state of flux. These are merely markers of a particular time and place.
It is only when I am fully engaged in the making – that the forms present themselves. There is an intuitive process of discovery – of wondering, of noticing, of physically or intellectually feeling the forms. I work on many pieces at once to enable me to become lost in the process - freely moving from one form to another. There is a complete acceptance in the process. Faith. That is the guide. We work together, informing and reacting to each other.
There are four distinct series in this body of work. The sculptures are the most ambiguous and poetic for me. Drawn from a multitude of sources, industrial detritus, tools and abstracting the fragments of a vessel. The vessels are rooted in more of a pottery vernacular. They are there to nourish. We are comforted. We have a sense of place. The cups are individual intimate moments. Each one is a separate story. Held. Caressed. Nourishment. Life-affirming. The boxes may be urns. Shelters. Forced to touch in order to experience the inside. Containment. Security. Protect me. What is revealed?
Curated by Namita Gupta Wiggers
The Museum of Contemporary Craft in partnership with Pacific Northwest College of Art (PNCA) opens the second exhibition in its Object Focus series, Object Focus: The Bowl, on March 7, 2013. This two-part exhibition, featuring nearly 200 bowls, focuses attention on the most commonplace of objects, asking us to consider the ubiquitous bowl in new ways. As artist and PNCA professor M.K. Guth has pointed out, the history of the bowl is the history of civilization. Yet because it holds our cereal, our soup, our tea, our spare change, it becomes so familiar as to be overlooked. Through a variety of engaging activities, Object Focus: The Bowl invites the viewer to connect the work on display in the Museum with the bowl in his or her everyday life. The bowls on view range from the functional to the decorative, industrially produced to handmade, and span the globe geographically and culturally.
Pablo Neruda’s Ode to Common Things, Andrea Zittel’s A-Z Container, and conversations with artists, craftspeople, and designers about how they consider this archetypal form in their own work, inspired the thinking around this exhibition. Deyan Sudjic, Director, Design Museum London, has written in The Language of Things that everyday objects like the table, chair, and lamp have been pulled into the realm of Design to become the Noguchi Table, Eames Chair, and Ingo Maurer Lamp. The bowl, perhaps too commonplace and familiar, has stubbornly refused to be co-opted in this way.
To invite a deeper consideration of the bowl, Object Focus: The Bowl will feature a number of participatory projects in the Museum and in the community, many of which engage the public in collaboration.
In Part One: Reflect + Respond, March 7-August 3, 2013, Director and Chief Curator Namita Gupta Wiggers has kick-started this process by inviting anthropologists, artists, poets, novelists, curators, and more to write 500 words on a bowl of their choosing from the exhibition. This is only the beginning. Throughout the exhibition, the Museum invites viewers to write their own 500-word pieces on the bowl in an effort to gather 50,000 words by August, 2013. 50,000 words is the average length of a novel, according to the popular National Novel Writing Month project. All contributions will be made available online at www.objectfocusbowl.tumblr.com
There will also be a drawing station in the Museum. Students from PNCA’s BFA in Illustration program will be contributing works on the bowl, and visitors are invited to contribute drawings to the exhibition as well.
The second part of the exhibition, Part Two: Engage + Use, May 16-September 21, 2013, explores the social role of the bowl through artist projects, performances, a symposium, through contributions by the region’s chefs and a project in partnership with Portland restaurants.
Ayumi Horie will create a bowl lending library that will allow visitors to handle handcrafted bowls in the museum and borrow objects to be used at home. For his project, Bowls Around Town, Michael Strand has created traveling trunks that contain a ceramic bowl, digital camera, and recipe book to circulate among some of Portland’s communities that come together around mealtimes. Area chefs, cookbook authors, bakers, and candymakers will make bowl selections and offer recipes at the Chefs’ Table. In addition, there will be a reprisal of Transference by Andy Paiko and Ethan Rose, as well as a series of performances by Craft Mystery Cult. Finally, there will be a symposium on Craft and Social Practice featuring some of the artists featured in Object Focus: The Bowl, planned in conjunction with Portland State University’s Open Engagement Conference.
Curated by Steve Lekson, this exhibition features more than 100 rarely exhibited ceramics from the museum’s celebrated southwestern collection and takes visitors through more than 1000 years (AD 500-1600) of southwestern history. Photographs of ancient southwestern ruins by noted aerial photographer Adriel Heisey provide a visual and dramatic frame of reference for the exhibition.
Lekson explains, “The striking pottery on display illustrates the remarkable range of Native societies, and their dramatic stories. The exhibit offers a new history of the ancient Southwest based on recent research and new insights.”
With captivating and informative narrative provided by Lekson, the exhibition reduces one thousand years of what Lekson calls, “glorious, messy, and complicated human history,” into a short, coherent, and enjoyable experience that challenges the conventional views of the ancient Southwest.
The exhibition is divided into seven areas representing the primary cultural groups that defined the ancient Southwest: Hohokam, Early Pueblo, Chaco, Mesa Verde, Mimbres, Casas Grandes, and Pueblo. Senior Exhibit Developer Charles Counter explains, “With an entire gallery devoted to a vast display of pottery and images of the limitless Southwest landscape, that has always been a part of the human experience in the Southwest, the exhibition will take visitors through the rises and falls, kings and commoners, war and peace, triumphs and failures of the ancient Southwest.”
The years between 1956 and 1986 witnessed a fundamental shift in American ceramics, one that took place mainly on the West Coast in California and Washington. Freed from the constraints of making functional objects, ceramics artists began experimenting with abstract and figural forms, radical building techniques and surface treatments. The resulting sculptural pieces were groundbreaking, and the search for a new aesthetic changed international ceramic art.
Key figures in this revolution were Peter Voulkos and Robert Arneson. Voulkos founded the ceramics program at the Los Angeles County Art Institute (now Otis Art Institute) in 1954 and established California as the center for avant-garde ceramic art in the mid-20th century. Arneson, an admirer of Voulkos and a teacher at the University of California, Davis, was associated with the Funk art movement which is characterized by deliberately unpolished style, over-scaled imagery and rejection of formal sculpture. While coming from different perspectives, both artists established similar atmospheres of innovation at the programs they led in California. Their respective ethos spurred ceramics artists across the state and beyond to embrace this new philosophy, leading to a 30-year period of intense creativity that produced remarkable works of sculpture.
Three Decades of West Coast Ceramics, 1956–1986 showcases works from the rich MFAH collection of American ceramics made during this important period. Specifically, the exhibition focuses on teachers and students from seminal ceramics programs at four universities:
The Los Angeles County Art Institute (now Otis Art Institute), Los Angeles
At the Los Angeles County Art Institute, Peter Voulkos created an open, experimental atmosphere that encouraged radical form and innovative glazing. Voulkos’s first students and colleagues included John Mason, Ken Price, Michael Frimkess and Paul Soldner, whose work can be seen in the exhibition.
University of California, Davis
In 1962 Robert Arneson, an admirer of Peter Voulkos, began teaching ceramics at the University of California, Davis. During his 30-year reign there, Arneson, his colleagues and his students, including Clayton Bailey, David Gilhooly, Richard Notkin, Lucian Pompili and Richard Shaw, created one of the most internationally recognized, revolutionary ceramics programs in the United States. Its legacy stems from its focus on figurative ceramics and the atmosphere of innovation and experimentation that Arneson fostered.
Artomatic, Inc., the Office of the Secretary for the District of Columbia, the District of Columbia Commission on the Arts and Humanities, the DowntownDC Business Improvement District (BID), and Sunderland, England City Council, are proud to present an international fine arts glass and clay exhibit, International Glass and Clay 2013, hosted at the Pepco Edison Place Gallery in downtown Washington, D.C.
International Glass and Clay 2013, which will run from March 1 to 23, debuts as the third Artomatic international collaboration with District of Columbia Sister City, Sunderland, England. Located in the heart of D.C., the Pepco Edison Place Gallery will display vibrant works of glass and clay.
Coming off the success of Glass3 in 2008 and Artomatic 2009, this will be Artomatic’s third international exhibit and the first to feature fine clay art. This exhibition will present expressive glass and clay artwork as well as narrative sculptures that blend traditional craft materials such as glass and clay with digital technologies, removing the boundaries between the traditional categories of craft, art, and design.
The exhibition will display international glass and clay artists from Sunderland’s Cohesion Artists and the University of Sunderland, and Washington, D.C.based artists from the Washington Glass School and Flux Studios.
Each arts organization has selected the artists whose work will be on display during the 20 day exhibit. Artwork will also be for sale, with all proceeds going to the artist.
To complement the artwork, International Glass and Clay 2013 will host panels at Pepco Edison Place Gallery all month long meant to inspire indepth conversation about cultural diplomacy, Fulbright exchanges and international artists residencies and the arts. The events will include representatives from cultural institutions in the nation’s capital, including embassies, government entities, think tanks and local arts organizations.
Victoria & Albert Museum Ceramics Residency 2013 / London, UK
Applications deadline: April 7, 2013
The V&A is inviting applications from UK-based studio ceramicists who wish to develop their practice in designing and making ceramics through working with the V&A’s collections and through public engagement activities.
The Residency will be based in a purpose-built studio in the Ceramics galleries, at the V&A in London. This is part of an exciting new programme of residencies specifically situated in the Ceramics galleries. This Residency will take place over a six-month period from October 2013 –March 2014 in London.
The residency is open to UK-based established practitioners. It will provide a monthly bursary (taxable) and additional budget for materials and equipment. A team drawn from the Museum’s staff will provide support throughout the project. We are interested in practitioners who: wish to work with the Museum’s resources and collections; would welcome the opportunity to actively work on projects with the public; and are interested in presenting and interpreting their work for visitors. Applicants should have a track record of innovation and regular exposure of new work, and be able to demonstrate ongoing development in their practice.
The Ceramics Studio is situated in the heart of the extensive Ceramics Galleries. Further multidisciplinary residency studios are situated in the Sackler Centre for arts education at the V&A. This programme is integral to the philosophy of the V&A, helping to make the Museum’s learning programmes dynamic and creative. Past Residents have gone on to achieve significant success in their professional careers, winning prizes and securing gallery representation.
Closing date for applications is April 7, 2013.
Interviews will take place on April 24, 2013.
The artist will be paid £8,400 during their 6 month residency in monthly instalments. This includes Income Tax and National Insurance. This fee is inclusive of travel costs within the UK and living expenses. There will be an additional budget for studio equipment and materials to be agreed with the Residency Co-ordinator.
Applicants should apply online at the V&A’s website at www.vam.ac.uk/jobs where you will be asked to submit a current CV and complete an application form. In addition to submitting your application on-line, please also upload 8 images of your work with your application.