Şirin Koçak / Kuğulu Art Gallery, Ankara, Turkey February 10-28, 2014
"Şirin Koçak sticks in our mind with her works in which senses, experiences, broken hearts, and memories of today and the past are blended with a deep and shocking taste. Traces from the past finds a new integrity and expression in her both subjective and universal works made of ceramic clay.
Almine Rech Gallery is pleased to announce ‘The Lovers’, the first solo exhibition by William J. O’Brien in France.
Prior to a major survey exhibition of the young American artist at the Museum of Contemporary Art in Chicago, this exhibition brings together a series of ceramic sculptures made between 2008 and 2013, and a series of new works on paper. This exhibition reflects the diversity of mediums and themes found in O’Brien’s work for almost ten years.
Anders Ruhwald: Almost Everything / Harrison Gallery
Danish-born artist Anders Ruhwald makes art that is “a meditation on utility, the history of ceramics and object-hood”. Almost Everything was created in 2009 and has been exhibited at galleries in five European countries before making its United States debut at The Clay Studio.
Born in Lake Charles, Louisiana in 1941, Lynda Benglis moved to New York City in the late 60s. Her early, ground-breaking work – landscape-like, sculptural installations of poured polyurethane foam and latex – confronted the then-current, male-dominated tropes of Minimalism with brightly-colored, biomorphic forms which embraced themes of ambiguity, femininity, nature and transformation. Their formal ambiguity resisted easy definition: Benglis has long critiqued the art world’s attempt at classifications and hierarchies, as well as societal boundaries of sexuality and gender. Simultaneously seductive and grotesque, Benglis’s work has always been the result of a fluid and organic working process, in which difficult-to-control materials help determine the final outcome. Her ceramic sculptures, though more intimate in scale, are also constructed with deference to the medium’s inherent characteristics. While the clay works accentuate issues she has addressed throughout her career – the blurring of distinctions between pliable and rigid, accidental and intentional, form and shapelessness – they also expand the scope of her artistic methods, engaging notions of craft, functionality, and primeval history.
Yeesookyung: The Meaning of Time / Locks Gallery, Philadelphia February 7 - March 15, 2014
Locks Gallery is pleased to present The Meaning of Time, the first solo exhibition in the United States by the Korean artist Yeesookyung, on view February 7 through March 15, 2014. This exhibition is intended to be a contemporary perspective in dialogue with the nationally touring exhibition of Korean Joseon Dynasty artifacts that will be on view at the Philadelphia Museum of Art on March 2, 2014.
Anne Wenzel: The Opaque Palace / TENT Rotterdam February 6 - May 5, 2014
Opening reception: Thursday, February 6th, from 8 pm.
The Opaque Palace transforms the exhibition spaces of TENT into an installation in which the monumental sculptures of Anne Wenzel (DE, lives and works in Rotterdam) provide a coherent representation of the major themes in her work – power, destruction, heroism, history – and a new series of sculptures are introduced. Daria de Beauvais, from Palais de Tokyo, Paris, has curated the exhibition. With Anne Wenzel’s solo exhibition, her largest yet, TENT celebrates the re-opening of its newly renovated building.
Erskine, Hall & Coe is pleased to present an exhibition of the work of James Tower in February. This will be Tower’s first solo show in London since 1986.
James Tower is one of the most distinguished ceramic artists of the 20th century. His ceramics are unique for their visual effects which suggest that he responded to nature and his environment. He became an established artist in the 1950’s and exhibited alongside such artists as Barbara Hepworth and William Scott.
Simon Fujiwara’s Rebekkah was recently purchased for Leeds Art Gallery through the Contemporary Art Society Collections Committee. Established in 2012, the committee selects and buys works by early and mid-career artists to gift to regional museums across the UK.
Rebekkah is inspired by a 16 year old girl from Hackney, Rebekkah, who was one of the protagonists of the 2011 London Riots. Rebekkah was asked by Fujiwara to travel to China to take part in a unique social experiment, where her access to social media was restricted and she visited factories manufacturing the objects she aspired to own and took for granted (fashion clothing, mobile phones, flat-screen TVs). The trip culminated with a viewing of the Terracotta Army, after which Rebekkah was taken to a factory where casts were made of her body to be assembled into modern day versions of the warriors.
First held at Access Contemporary Art Gallery, Brenda May Gallery’s former incarnation, this annual exhibition features an engaging and eclectic collection of artworks, and continues to provide a significant platform for the ever-evolving medium of sculpture.
Tim Rowan was born in 1967 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 Pennsylvania State University.
He established his kiln and studio deep in the woods of the Hudson Valley in 2000, where he lives with his wife and son. His work has been represented in solo and group exhibitions internationally, most recently having solo shows at Yufuku Gallery in Tokyo, Japan and Cavin-Morris Gallery, in New York City. In September, 2013, Tim Rowans ceramic sculptures will be represented in a solo exhibition at Lacoste Gallery, in Concord, Massachusetts.
Rowans’ work is made, primarily, from native clay, direct from the earth and unprocessed. He works with geologists to locate local clay deposits and hand-digs selected sections of earth. The “impurities” in the clay are left to reveal themselves, upon sculpting and firing. The forms are slowly constructed from layers, built up over days and weeks, then hand-carved. They are fired for seven days and nights in a woodfueled kiln. No glaze is applied; the surface textures and colors are the result of the interaction of the clay, fly-ash, coals and fire.
Turn, Weave, Fire, and Fold: Vessels from the Forrest L. Merrill Collection / SFO Museum, San Francisco January 25 - June 1, 2014
New exhibition presents an exploration of the vessel in work by Bob Stocksdale, Kay Sekimachi, June Schwarcz, and James Lovera.
Collector Forrest Merrill has an affection for the vessel. Its form, sometimes alluding to the sensuous curves of a human body, holds irresistible appeal for him. So too does its familiar scale, which allows a vessel to be cradled in the palms of one’s hands. Forrest’s first art acquisition was in 1950 at a clay and glass exhibition in Pasadena, California, that he attended with his high school art club. With forty dollars earned from cutting neighbors’ lawns the previous summer, Forrest purchased a slumped-glass salad set by Glen Lukens, a pioneer in studio crafts then teaching at U.S.C. in Los Angeles.