Graciela Olio: Proyecto Sur, Serie Home (Project South, Home Series), 2011, Porcelain sheet (Keraflex) print with photoceramic (gum bichromate process), Printing directly on raw sheet before handbuilding, 15x15x15 cm.
Gail Nichols: Atmosphere / Narek Galleries, Tanja, NSW, Australia
January 10 - February 24, 2014
Earth, air, fire and water are the essential elements in Gail Nichols’ vessels, both figuratively and metaphorically. The infinite landscape surrounding her home and studio at the base of Mt. Budawang near Braidwood not only inspires her strong, wheel thrown forms, it also provides the atmosphere that affects the soda vapour glaze firings. Moist air and damp earth will create a different firing result to days of low humidity.
Red Lodge Clay Center Long Term Residency / Red Lodge, Montana, USA
Application Deadline: February 1st, 2014
The Long-Term Residency (September 1 - July 31) is ideal for committed individuals in transition from post baccalaureate studies to graduate school, as well as those pursuing the development of professional artistic careers. Self-directed ceramic artists searching for the time, space and resources needed to explore new ideas and create new work will enjoy the rural mountainous setting.
Assistant Professor Ceramics at the Alberta College of Art + Design (ACAD), Calgary, Canada
Applications deadline: February 28, 2014
ACAD’s School of Craft + Emerging Media welcomes applications for the following Permanent Faculty position commencing in the fall semester of the 2014-2015 academic year: Assistant Professor, Ceramics.
Alexis Rago: Chaos Contained / Crafts Study Centre, Farnham, UK
January 7 - March 1, 2014
The National Centre for Craft & Design confirms that Alexis Rago: Chaos Contained will begin its life as a touring show in Farnham. Originally curated by Laura Mabbutt for the NCCD, the exhibition opens at the Crafts Study Centre on 7 January 2014 continuing until 1 March. Touring Manager, Liz Cooper says “During its 70 day run at NCCD, over 4,600 people of all ages viewed Chaos Contained, making it one of the most successful exhibitions we have held in our Roof Gallery. We hope to repeat that success in Farnham.”
Body and Soul: New International Ceramics / MAD Museum, New York
September 24, 2013 - March 2, 2014
In recent years, the human figure has returned to center stage in the work of artists around the world. Body & Soul: New International Ceramics underscores the power of the figure to convey strong emotions, and also to the accessibility of the ceramic medium. Through clay the figure becomes the catalyst for addressing the emotional impact of contemporary pressures that confront our society today. Each work, inspired by a personal incident or symbolic tale, expresses a deep emotional identity, contrasting societal, political, and personal views on themes such as anxiety, bias, mortality and memory.
Fired Earth, Woven Bamboo: Contemporary Japanese Ceramics and Bamboo Art / Museum of Fine Arts, Boston
November 12, 2013 - September 8, 2014
The Museum of Fine Arts, Boston (MFA), presents Fired Earth, Woven Bamboo: Contemporary Japanese Ceramics and Bamboo Art, an exhibition that highlights the meticulous craftsmanship and highly creative sculptural forms of Japanese decorative arts. Among the first exhibitions to present contemporary ceramics alongside baskets, Fired Earth, Woven Bamboo offers an in-depth look at 60 objects created by dozens of leading artists based in Japan.
Hello friends. Welcome to Month in Review, a summary of the last month of activity here at Ceramics Now.
CLASS OF 2013 / The National Centre for Craft and Design, Sleaford, UK
November 22, 2013 - January 19, 2014
Each year,The National Centre for Craft and Design in Sleaford, Lincolnshire, UK selects work by the very best of the current year’s graduates from art colleges and universities all over the UK, and gives them the opportunity of exhibitingat the NCCD.
This year’s show explores the theme of function in objects. A range of high quality, visually striking artworks created by 18 specially selected graduates are on display. They demonstrate a diverse range of skills from fashion and jewellery to ceramics and automata.
Betty Woodman: CONTRO VERSIES CONTRO VERSIA / Gallery Diet, Miami
an inaccurate history of painting and ceramics
December 2, 2013 - January 1, 2014
Gallery Diet is delighted to announce a solo exhibition of new works by Betty Woodman: CONTRO VERSIES CONTRO VERSIA an inaccurate history of painting and ceramics. The exhibition, which opens December 2nd, 2013, gathers a body of 2D and 3D works produced over the past two years that continue Woodman’s evolving relationship with painting, the vase, and the history of ceramics. Over the past several years, the resurgence in ceramics, craft aesthetic, and abstraction has led audiences to earlier generations of practitioners. Often credited as the “godmother of American ceramics,” Woodman is considered one of the pioneers in bringing the vase out of the craft world and into the realm of high art. As Peter Schjeldahl wrote of Woodman’s solo exhibition at The Metropolitan Museum of Art, “she is beyond original, all the way to sui generis. She has been well known in art circles since the 1970s, when her work was associated (incorrectly but advantageously, given the art world’s chronic disdain for anything that smacks of ‘craft’) with a briefly fashionable movement called Pattern and Decoration.”
Exhibiting artists: Brent Rogers, Alex Trommler, Aaron Wolf-Boze, Eric Bladholm, Nikki Renee Anderson, Robert Pulley, Michael Janis, Xavier Monsalvatje, Yuriy Musatov, Anna Lypko.
As a Danish ceramic artist, do you consider the living climate an important influence in your work?
I think it’s fair to say that my works have a certain Nordic nature component. Danish nature is not wild and magnificent – more one that offers quiet experiences: a misty morning over the ploughed fields; an old, dead tree; rainy weather that starts as dark streaks on the horizon; the weather clearing up after rain. Danish weather is changeable and often a cold, clammy affair, but this makes one more keenly aware of the light and small shifts in nuance.
Why did you choose the vessel as the central element of your art? Was there a transition from functional vessels to sculptural ones?
I have been working in ceramics continually since 1980. There have been periods when I have moved away from the vessel, but really it has been at the core of my work for most of the time since then. I do not make functional pots, but rather use the vessel as a subject - to give meaning and form to an expression. For a long time now I have realized that my overriding interest is making new coloured clay forms. This seems for me to be the essence of pottery- to make shapes which occupy and contain space and to decorate those shapes. By decorate, I mean to paint slip or glaze, to draw, to make image or line across the skin of the clay.