Ceramic artists list
> Ceramic artists list 100. Tim Rowan 99. Graciela Olio 98. Michal Fargo 97. Ryan Blackwell 96. Ellen Schön 95. Francesco Ardini 94. David Gallagher 93. Elizabeth Shriver 92. Jason Hackett 91. Patricia Sannit 90. Bente Skjøttgaard 89. Steve Belz 88. Ruth Power 87. Jenni Ward 86. Liliana Folta 85. Kira O'Brien 84. Annie Woodford 83. Kwok-Pong Bobby Tso 82. Bogdan Teodorescu 81. Kimberly Cook 80. Paula Bellacera 79. Debra Fleury 78. Cindy Billingsley 77. David Gilbaugh 76. Teresa & Helena Jané 75. Marianne McGrath 74. Suzanne Stumpf 73. Deborah Britt 72. Kathy Pallie 71. Els Wenselaers 70. Kjersti Lunde 69. Brian Kakas 68. Marie T. Hermann 67. Mark Goudy 66. Susan Meyer 65. Simcha Even-Chen 64. Barbara Fehrs 63. Shamai Gibsh 62. Natalia Dias 61. Bethany Krull 60. Amanda Simmons 59. Arthur Gonzalez 58. Chris Riccardo 57. Akiko Hirai W 56. Johannes Nagel 55. Rika Herbst 54. Liza Riddle 53. Chang Hyun Bang 52. Virginie Besengez 51. Jasmin Rowlandson 50. Chris Wight 49. Wim Borst 48. Rafael Peréz 47. Guðný Hafsteinsdóttir 46. Cathy Coëz 45. Merete Rasmussen 44. Carol Gouthro 43. JoAnn Axford 42. David Carlsson 41. Margrieta Jeltema 40. David Roberts 39. Patrick Colhoun 38. Abigail Simpson 37. Signe Schjøth 36. Katharine Morling 35. Dryden Wells 34. Antonella Cimatti 33. Cynthia Lahti 32. Carole Epp 31. Blaine Avery 30. Ian Shelly 29. Jim Kraft 28. Wesley Anderegg 27. Connie Norman 26. Arlene Shechet 25. Young Mi Kim 24. Jason Walker 23. Peter Meanley 22. Shane Porter 21. Jennifer McCurdy 20. Yoichiro Kamei 19. Debbie Quick 18. Ian F Thomas 17. John Shirley 16. Grayson Perry 15. Vivika & Otto Heino 14. Georges Jeanclos 13. Daniel Kavanagh 12. Nagae Shigekazu 11. Matthew Chambers 10. Tim Andrews 9. Claire Muckian 8. Adam Frew 7. Maciej Kasperski 6. Roxanne Jackson 5. Keith Schneider 4. Celeste Bouvier 3. Tim Scull 2. Kim Westad 1. Sara Paloma

Betül Demir Karakaya & Gökçe Özer: 1+1 / Terakki Foundation Art Gallery, Istanbul

Betul Demir Karakaya and Gokce Ozer 1+1 at Terakki Art Gallery Istanbul

Betül Demir Karakaya & Gökçe Özer: 1+1 / Terakki Foundation Art Gallery, Istanbul
January 9 - February 8, 2014

"Suddenly a voice is heard from 1+1…
One is quiet, whereas two is loud. 1+1 represents something more than a simple mathematical equation and the solution to this equation “2” is more than a number. It is an option against singularity.

The ceramic work of Betül Demir Karakaya and Gökçe Özer show us how different ones can add up to “2”. Özer’s ceramic sculptures portraying small heads on twirling bodies with hearts that have turned into black buttons carry the signs of a quiet but threatening power, while sculptures with open mouths, made using the same technique, create a place to hide from this threat. Whereas Demir’s ceramic bells give the signals of giving up an artist’s competence. With the game,she has extended an invitation to the audience by presenting a way to speak with them. Soil, that has been the common heritage of human kind, accumulates with a voice from two different languages in two female artists’ hands.

Ceramic works of Özer and Demir that have chosen two’s dynamism, instead of the competence of one -that isolates, makes blind and fattens- and two’s dialogue, instead of one’s monologue, will meet its audience at Terakki Art.” Words by Hazal Aksoy

Betül Demir Karakaya was born in 1978 in Izmir-Turkey, and started art education at Stragonov Moscow State University of Industrial and Applied Arts in 1998. Graduated from Hacettepe University Fine Arts Faculty Ceramics Department in 2002. In 2010 she has concluded her MFA at Anadolu University Institute of Fine Arts with the theme “Ceramic Bells Throughout History”. She is writing her PhD thesis at the same institute. She has many art pieces at private and public collections, including MIC Faenza International Ceramic Museum. She works at Karatekin University Fine Arts Faculty Ceramics Department as a lecturer.

Gökçe Özer was born in 1984 in Afyon. In 2002, she graduated from Ankara Anatolian High School of Fine Arts, Department of Painting, and in 2010 she graduated from Anadolu University Faculty of Fine Arts Ceramics Department. She studied as an exchange student between 2009-2010 at Universitat zu Köln. Presently she is working as a research assistant at Anadolu University Faculty of Fine Arts ceramic department and studied MA at the Institute of Fine Arts on ‘Influence of Wabi-sabi Aesthetic on Japanese Ceramic Art’. Currently she is a PhD candidate at Anadolu University Institute of Fine Arts.

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  • Jos Devriendt: Day & Night / Pierre Marie Giraud, Bruxelles

    Jos Devriendt: Day and Night exhibition Pierre Marie Giraud, Bruxelles

    Jos Devriendt: Day & Night / Pierre Marie Giraud, Bruxelles
    January 17 - February 1, 2014

    "Since 20 years I have been working on the archetype of the mushroom. It has been a search for a form that could be a sculpture with two different lives. A mushroom during daytime with an obvious and colourful expression capturing the light, and at night an abstract form giving light.

    As a sculptor I want to reshape the form from day to night, solely with light: the daylight, which shines upon the sculpture and the artificial light, which comes from within and erases the material form. After researching the form, I experimented with different colours as a means to alter the meaning of the form. Like abstract painters use colours to give a meaning to their work, I do in a three dimensional way.
     
    Artists have been expressing feelings through the sea, nudes or geometric forms.
    Why not use mushrooms?
    They have a lot of meaning in life.
    Basically you can eat them and may be poisoned.
    There is the hallucinating effect of some of the exotic species.
    The sexual connotation of the mushroom is in many cultures an important element of mythology.
    In essence, mushrooms bring me to the big themes of art: life, love and death, and last but not least to humour.”

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  • Living Glass / Musée de design et d’arts appliqués contemporains, Lausanne, Switzerland

    Living Glass exhibition at mudac

    Living Glass / Musée de design et d’arts appliqués contemporains, Lausanne, Switzerland
    Recent acquisitions by the Glass Art Collection
    December 11, 2013 - November 16, 2014

    Mudac’s latest contemporary glass art exhibition, Living Glass, presents a broad selection of works and installations by today’s glass creators of many nationalities—Swiss, European, American and Asian. Bearing witness to the very idea of glass art, pieces ranging from sculpture to edition design all translate the museum conservation team’s open and ongoing approach, as assisted and supported by the Collection’s patron.

    The ensuing major canvassing program has brought to light the incredible diversity and dynamism of the contemporary scene with respect to such a singular and demanding material. This new set of works represents a very far-spreading, overall view of contemporary glass art production in Switzerland and around the world. Today, joining those regions and countries that first launched the major groundbreaking trends reinstating glass internationally, there are countless initiatives by artists and designers who have forgone any formal education in the mastery of this material. Designers and artists are linking up with master glass artists to work together. As a result, on the one hand, today’s glass art features spectacularly intricate and beautifully mastered pieces with an undeniably aesthetic impact and, most importantly, encompassing the tradition and know-how of the famous major centers of the second half of the 20th century. These now exist side-by-side with more experimental pieces that can even be highly conceptual, and are often very singular in shape or statement. In their fascination with the very particular world of glass art production, the latest generation of artists and designers now test, experiment and question the practices such production entails, but always—and necessarily—in tandem with today’s master glass artists. The many pathways being travelled by creators stemming from at times very distant horizons attest to the liveliness of the contemporary glass art scene. Mudac is happy to put its acquisitions policy at the service of that scene’s plurality and dynamism.

    Published jointly by La Bibliothèque des Arts and mudac, a trilingual publication, Le verre vivant [Living Glass] accompanies this exhibition. This richly illustrated volume featuring some fifty of mudac’s recent acquisitions, encompasses contributions by art dealers and promoters, and by designers, artists and curators from many European countries. It promises pleasurable reading for both the general public and confirmed specialists.

    Museum hours:
    September-October: Tuesday to Sunday, 11.00 - 18.00
    July-August: Monday to Sunday, 11.00-18.00
    Open on official holidays, including Mondays.

    CONTACT
    Danaé Panchaud (Public Relations), danae.panchaud@lausanne.ch
    General information, info@mudac.ch
    Tel. +41 315 25 30

    mudac – musée de design et d’arts appliqués contemporains
    Place de la Cathédrale 6
    CH-1005 Lausanne
    Switzerland
    www.mudac.ch

    Above: formafantasma (Andrea Trimarchi et Simone Farresin), Jug, 2011, Verre soufflé et os. Image © Arnaud Conne – atelier de numérisation de la Ville de Lausanne

    > More exhibitions / View the list of ceramic art exhibitions

  • By Degrees ceramics exhibition / Unit Gallery, Jockey Club Creative Arts Centre, Hong Kong

    By Degrees ceramics exhibition / L5-23 Unit Gallery, Jockey Club Creative Arts Centre, Hong Kong
    January 11-26, 2014

    Ceramics has come a long way since its’ humble beginnings as crude decorations and simple pottery wares thousands of years ago. It has evolved to become an important medium within the world of the Fine and Decorative Arts whereby its’ previous boundaries are constantly being pushed and our perceptions challenged.

    In learning how to make ceramics there are no short cuts however and the techniques and skills still have to be mastered step by step, and by degrees. This exhibition brings together the six students of The Hong Kong Art School after completing the first year of their BA in Fine Art (Ceramics). Using hand building techniques and wheel thrown work they endeavor to explore various different themes within Contemporary Ceramics some of which include minimalism, eternity and social issues. This is their inaugural exhibition together.

    Exhibited artists:

    Ryan Cheng Ceramics

    Ryan Cheng, Weight Never Sleeps, 2013, Stoneware (Black Mountain - partly glazed), 16x9x30 cm.

    Ryan Cheng
    Clay is a very natural and organic medium to work with. It lends itself well to manipulation on a human scale.  It requires no specialized tools or incredible strength and is a pleasure to work with using just your bare hands. In my work I enjoy exploring the strengths and limits of the clay, and I try to use this ancient material to create objects in context with modernity.

    Renita Cheung Ceramics

    Renita Cheung, Live as One, 2013, Unglazed Porcelain, Stoneware mixed with Oxides, 36x36x60 cm.

    Renita Cheung
    Diversity is a natural phenomenon in nature and gives the world variety and beauty. Such a beauty also exists in mankind as we have different characteristics such as color and culture. But for us to live together peacefully without discrimination, war and terrorism requires awareness from all the human races to appreciate and accept differences.

    In the work ‘Live as One’, I invite tenants of the earth to appreciate and respect differences between human races in order to sustain peace. Mountains of different characteristics are used to represent people from different culture as well as their hardiness to be moved. But all dreams start with imagination. I hope someday you will join the line.

    Janice Ng Ceramics

    Janice Ng, Infinity, 2013, Porcelain and Stoneware (unglazed), Size variable.

    Janice Ng
    I am inspired by ceramic artists such as Eva Hild and Walter Dam and became interested in the flow and movement of forms. With the combination of extrusion technique, I build some angular tubs, and the development starts from free standing distorted tubes to additional force and movements.

    The extrusion resembles the birth of living beings, the clay being used would be the origin while the twist and pressure added afterward would symbolize the experiences and crisis the piece had gone through along the growth. Twisted movement is applied since the DNA link of living being in spiral form, it gives signs of the power of life.

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  • » Graciela Olio

    Graciela Olio Ceramics

    Graciela Olio's profile on Ceramics Now - View works

    The path of my work can be brought together in thematic series which are constantly reshaped.  These can be defined as: Social Satire, Saga of Discovery, Automata, Contemporary Bestiaries, Dwarfs, Self-referential work, Uselessly Decorative Objects, Project South (work in progress) and The Collector.

    Project South is a “work in progress” in which I use images transferred from Simulcop booklets (Argentinean schoolbooks used to help drawing during the 60s and the 80s) to propose a journey through South America and Argentina.
    The drawings of political, hydrographical and climate maps as well as maps showing our flora and fauna, different parts of important cities and ports, and the most important American products show the ideal representation of our continent’s recent past. Project South is a commitment to the future of our region, a work anchored in the ironic game of our memory.

    The Home Series, which is part of Project South, expresses and affirms a place of belonging. A region, Latin America, a continent South America, a country, Argentina, a city, a house, a home. Modest, almost collapsing houses  are a regular sight in the cultural landscape of both, South and Latin America. The ironic word “Home” entails a trick, almost a funny one, in this poverty context. The simplicity of the dwelling, made up of printed cardboard shows the sad reality we have been facing for years now. There are roofless houses, houses on the verge of catastrophe, houses falling apart and self- sustaining houses. This is a series in permanent construction and its metaphorical development manifests itself as a symbol of resistance.

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  • Graciela Olio Ceramics: Proyecto Sur, Serie Home (Project South, Home Series), 2011, Porcelain sheet (Keraflex) print with laser decal on raw sheet before handbuilding, all 30x20x0,8 cm.

  • Graciela Olio Ceramics: Proyecto Sur, Serie Home (Project South, Home Series), 2010, Porcelain sheet (Keraflex) print with photoceramic (gum bichromate process), Printing directly on raw sheet before handbuilding, 15x10x12 cm. Photo by Hernán Cédola.


  • 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, both 15x10x12 cm.


  • 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, Australia

    Gail Nichols: Atmosphere exhibition Nerek Galleries Tanja

    Gail Nichols: Atmosphere / Narek Galleries, Tanja, NSW, Australia
    January 10 - February 24, 2014

    Opening reception: Saturday, January 11, 6 pm.

    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.

    A bowl filled with air and light and described by its own materiality, may have an irregular rim reflecting the undulating horizon and a luscious glaze of glassy celadon or shadowy grey mauve or rich, thick cream and molten soft browns tinged with fiery orange clay at the base. These glazes are created by swirling soda vapours in the firing process reacting with elements deep within the clay and each pot is placed in the kiln so that intended surfaces will occur.

    Nichols’ control of kiln atmosphere has been gained over years of extensive research, leading to a PhD at Monash University in 2002. Her book, Soda Clay and Fire, published by the American Ceramic Society, is a leading text in the field. Her work is represented in Australian and international collections including the National Gallery of Australia.

    Gallery hours: Friday to Monday, 10:30 AM to 5:30 PM, and by appointment.

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  • Red Lodge Clay Center Long Term Residency / Red Lodge, Montana, USA

    Red Lodge Clay Center Long Term Ceramics Residency

    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. Accepted residents will be provided with studio space, housing, utilities, and a monthly stipend in exchange for twenty hours of work per week at the Clay Center. Responsibilities will include assisting in the retail operation of the gallery, teaching community clay classes, as well as cleaning and maintenance of the studio and gallery. Residents will be responsible for personal living expenses, as well as all material and firing expenses.
    Application Fee: $40

    The Red Lodge Clay Center welcomes applications from ceramic artists who will thrive working as a team, in a community minded atmosphere. The ceramics studio is located approximately six miles north of Red Lodge, 463 Two Mile Bridge Road. A form of transportation is necessary for the duration of the residency. Resident artists have 24-hour access to the ceramics studio. For more detailed information on material needs and studio equipment please contact the Red Lodge Clay Center.

    Click here to apply online.

    CONTACT
    residencies@redlodgeclaycenter.com

    Red Lodge Clay Center
    123 South Broadway
    Red Lodge, Montana 59068
    United States

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  • Assistant Professor Ceramics at the Alberta College of Art + Design (ACAD), Calgary, Canada

    Assistant Professor Ceramics at the Alberta College of Art + Design (ACAD), Calgary, Canada
    Applications deadline: February 28, 2014

    Assistant Professor Ceramics, Alberta Collee of Art Design, CalgaryACAD’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 (Competition # 1314-DE-FP-27).

    The successful candidate will be expected to teach, demonstrate an active research/studio practice, and contribute to the strategic plan of the College through engagement in administrative service.

    Summary of Responsibilities - The successful candidate will:
    - Teach in all levels of the BFA and proposed MFA in Craft Media program, studio and lecture/seminar courses;
    - Contribute actively to curriculum development in the School ofCraft + Emerging Mediaand to the strategic initiatives of ACAD’s Research and Academic Affairs;
    - Maintain research/studio practice and contributions to research and scholarship in the field of contemporary craft, specifically ceramics;
    - Demonstrate a commitment to continuing pedagogical and academic excellence;
    - Provide service to the Faculty and College governance framework, including outreach activities that contribute to the academic life and profile of the College.

    Qualifications - The successful candidate will:
    - Hold a minimum of a Masters level degree or an equivalent level of graduate education.
    - Have a minimum of five (5) years post-secondary teaching experience at the graduate and undergraduate levels (outside of graduate teaching assistantships) in studio, lecture, and seminar class formats.
    - Have a minimum of five (5) years of research/studio practice outside of post secondary education
    - Have a sound knowledge of ceramic technologies, methodologies, including wheel throwing, hand-building, mold-making and casting, clay and glaze technology, and knowledge of kiln firing technologies;
    - Have experience with digital object design and fabrication technologies;
    - Have experience teaching and working in interdisciplinary and trans-disciplinary contexts;
    - Have a comprehensive knowledge of Ceramics history, contemporary theory and discourse in ceramics practices;
    - Have a broad knowledge of history, theory and practice as it applies to Craft, Art and Design;
    - Have excellent communication, interpersonal, time management, and organizational skills;
    - Have social and theoretical understandings of technology, art and culture;
    - Have the ability to organize collaboration in studio production or research;
    - Have excellent communication, interpersonal and time management/organizational skills;
    - Be community-minded and team oriented.

    Preference may be given to candidates with:
    - Ceramics studio management experience;
    - An active Studio Pottery practice.

    Submission Instructions
    Please submit applications as per the instructions on our How To Apply webpage. In addition, include: artist statements outlining philosophies and practices regarding teaching and studio practice. Only applications submitted electronically will be considered. Please package all files as a single PDF document and do not submit as a “zip” or “Stuffit” compressed file.

    Click here to submit your application.

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