© Images Courtesy of Jason Jacques Inc.
Ceramics Now Magazine is pleased to announce an open Call for Papers, for consideration in Issue 3
Deadline for submissions: March 7, 2014
We welcome contemporary ceramics-related research papers that are lively and engaged with current ideas and debates. The call for papers is open to any author, and any original text involving ceramic art criticism, history or theory will be considered for publication. We would also welcome all submissions that enter the following categories: exhibition, book or project reviews, and conversations.
Arlene Shechet: Meissen Recast / RISD Museum, Providence, USA
January 17 – July 6, 2014
In the first U.S. exhibition of her one-of-a-kind Meissen sculptures, Arlene Shechet presents works she produced during a recent artist residency at the world-renowned German porcelain manufacturer. Arlene Shechet: Meissen Recast is a two-part exhibition on view at the RISD Museum from January 17 to July 6, 2014.
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.
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: 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.
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.
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.”
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.
Michal Fargo: Else, 2013, Porcelain, fired mold technique, fired to cone 6 electric, Variable dimensions. Photos by Mel Bergman.
Tim Rowan Ceramics: Untitled #11A85 / Untitled #11A86, 2011, Wood-fired native clay, 14x26x6 / 13x22x9 inches
Untitled #12246, 2012, Wood-fired native clay, 7x15x4 inches
Untitled #12247, 2012, Wood-fired native clay, 9x10x5 inches