Molly Hatch: REVERIE / Philadelphia Art Alliance, United States
February 7 - April 28, 2013
"In a continued effort to claim the functional surface of the dinner plate as a painting surface, REVERIE includes a new collection of historically sourced plate paintings. In response to the domestic nature of the galleries at the Philadelphia Art Alliance, I have designed “Tea for Two” a historic teacup inspired fabric wallpaper installation.
For REVERIE I worked closely with curators at The Clark Art Institute in Williamstown, MA to source their largely unviewed collection of historic teacups for “Tea for Two”, a fabric wallpaper installation. The story of Francine and Sterling Clark personally collecting hundreds of teacups over a lifetime now housed in the Clark Art Institute archives resonated with my own personal Metcalf family history of collecting and coveting decorative arts.
Rather than seeking source material from an additional museum collection for my new plate paintings in REVERIE, I chose to mine my own family’s collection of ceramic objects. My own family history of collecting resonated with the Francine and Sterling Clark cup collection. Thanks to the generosity of my family, my new plate paintings will be exhibited alongside the originals on loan for the duration of the exhibition.
REVERIE is a personal exploration of the relationship between the historic and the contemporary with artworks crossing over categories of decorative art, design and fine art. Fascinated by how we live with objects, how and why we acquire objects and what happens to them throughout history, I see this exhibition as a reflection of the life of surface pattern through the decorative art continuum.” Molly Hatch
“No art is simply, blithely contemporary. That would be like saying our parents had no influence on us. Today’s art responds to and reacts against yesterday’s art. Hatch serves up the magisterial landscape on a grid of 30 hand-painted ceramic dinner plates. The grid of circles cleverly breaks up and abstracts the scene, but doesn’t abandon its coherence. Indeed, it spotlights the mark-making.” Boston Globe Review of COVET: Modern Riffs on Old Ideas by Cate McQuaid, May 30, 2012
Artist and designer Molly Hatch grew up on an organic dairy farm in Vermont surrounded by a startlingly diverse set of visual influences: the earthy reality of rural life, and the mysterious, disembodied luxury of antique decorative objects from her mother’s family, prosperous Boston merchants who used Chinese export porcelain as ballast in their ships. Inspired by these two seemingly disparate family narratives, Hatch became an artist with a life-long passion for the decorative arts and the dialog between old and new. She has developed a robust studio practice that encompasses both works of art and design for industry, keenly aware of the different concerns and goals of each, while engaging with the ambiguity of objects that seem to exist in both the decorative and fine art realms.
New Blue and White / Museum of Fine Arts, Boston
February 20, 2013 - July 14, 2013
New Blue and White at The Museum of Fine Arts, Boston, showcases inventive works in blue and white by 40 international artists and designers.
Over the past millennium, blue-and-white ceramics have become an international phenomenon—familiar as Dutch Delftware, Ming vases, and Blue Willow china, among other forms. Today, the popular ceramic medium continues to offer inspiration, especially to the more than 40 international artists and designers whose works are presented in New Blue and White at the Museum of Fine Arts, Boston (MFA).
NCECA 2013 Ceramics Biennial / Houston Center for Contemporary Craft, USA
January 26 - May 5, 2013
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.
Emmanuel Boos and Esben Klemann: Systematic Uncertainty / Copenhagen Ceramics, Denmark
February 28 - March 28, 2013
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.”
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.
SPECIAL FEATURE: Romanian Contemporary Ceramics
Written review of Romanian contemporary ceramics through interviews with internationally-renowned and emerging Romanian artists.
In December 2011 we have witnessed the rebirth of Romanian contemporary ceramics through the opening of Galateea Gallery, Bucharest, the first gallery in Romania that promotes contemporary ceramics. The exhibition was titled “Ceramic rendez-vous”, poiting out the fact that it brought together fourteen artists from all over the country: Arina Ailincăi, Bianca Boeroiu, Cristina Bolborea, Adela Bonaţ, Vasile Cercel, Gherghina Costea, Georgiana Cozma, Marta Jakobovits, Romana Mateiaş, Aniela Ovadiuc, Monika Pădureţ, Cristina Popescu Russu, Ioana Şetran and Simona Tănăsescu.
With just two days ahead of the opening day of “Ceramic rendez-vous”, in December the 9th, 2011, Ceramics Now organized the opening day of the first Ceramics Now Exhibition in the city of Cluj-Napoca, Romania. The exhibition marked the launch of the magazine by exhibiting works of fifteen artists from eight countries. The third edition of Ceramics Now Exhibition is being held at Galateea Gallery, Bucharest, between 8-26th of November 2012, and presents the works of 22 world renowned contemporary ceramic artists, including three Romanian artists.
ROMANIAN CERAMIC ARTISTS - Read all the interviews:
Arina Ailincăi - by Vasi Hîrdo
Marta Jakobovits - by Ileana Surducan and Alexandra Mureşan
Romana Cucu Mateiaş - by Andra Baban
Aniela Ovadiuc - by Vasi Hîrdo
Oriana Pelladi - by Vasi Hîrdo
Eugenia Pop - by Alexandra Mureşan and Vasi Hîrdo
Cristina Popescu Russu - by Alexandra Mureşan
Bogdan Teodorescu - by Vasi Hîrdo
The feature is an ongoing project developed by Ceramics Now Association in collaboration with the Romanian Fine Arts Union, the University of Arts and Design Cluj-Napoca and the National University of Arts Bucharest.
Above: Oriana Pelladi, Emptiness, 2007, Ceramics, Video projection.
As a contemporary artist with extensive knowledge in the field of ceramics, can you share with us a significant experience for your career?
There is no doubt that growing up in a family of artists had a major influence on my life and artistic career. The chance to develop myself in an artistic environment, to be in contact with different genres of art, cultivated my taste for diversity. As a defining experience, I can say that the time spent in the ceramics studio during high school was the most interesting for me. In that period, the studio was an experimentation lab and I was encouraged by my teacher, Judita Crăciun, to discover new things, and so I gathered knowledge that further helped me build my artistic identity. A similar stage was during doctoral studies when I had the opportunity to reshape and enrich my knowledge and vision regarding ceramic art.
13 Ways of Looking at “Natural Great Piece”
Meditations on a performance in clay by Cybele Rowe and Lauren Ari
Review by Daniel Fleischmann for Ceramics Now Magazine - Issue Two
1. “Natural Great Piece” is an intricate, intimate, communal performance in the medium of clay. Like a dance or a concert, it is more overtly bound to time than most sculptural artwork, and it ends dissolved into the past.
2. Cybele Rowe and Lauren Ari make a large and detailed clay sculpture. It emerges from an improvisational score fed by their combined 60 years of art making experience. Passersby are invited to create self-portraits in clay to be incorporated into the artwork. Its surfaces become covered with these figures, which are painted with underglaze.
At a certain point, the construction is complete. Its size is such that it can easily conceal a large adult from view. The words of Tibetan lama Nyoshul Khen Rinpoche are carved into the unfired clay:
Rest in natural great peace this exhausted mind,
Beaten helpless by karma and neurotic thoughts
Like the relentless fury of the pounding waves
In the infinite ocean of samsara.
Rest in natural great peace.
A brief performance marks the culmination of the process. Then the Natural Great Piece is dismantled.
3. Rowe and Ari first manifested “Natural Great Piece” at the 2nd Ceramics Annual of America in San Francisco, October 5-9, 2011. They were joined by singer Bridget O’Keeffe and dancer Juliet Lin. In addition, roughly 250 fellow artists, ceramics aficionados, art students, and visitors contributed small figurative moments to the sculpture.
Circumnavigating its concave exterior or squatting in its embrace, you could see a red dragon, a female figure growing from yellow coral, a gnome pouring a jug of water over a balcony, a bloody ghoul, a colony of barnacles, a waiter bringing a head on a tray, a cluster of pink faces on a blue man’s torso, and countless more visual poems and paragraphs.
The chaotic and fascinating fresco captured the essence of the eternal cycle of birth, differentiation, suffering, death and rebirth—in short, samsara. Yet as varied as the details were, all came together in the single, curved wall. Reminiscent of both cave and womb, it described approximately three quarters of a circle and measured about 3m in circumference, 2.5m in height at its apex, and 900 kg in weight.
4. There is no reason to believe that “Natural Great Piece” has a quintessential appearance. Rowe notes, for example, that the moisture in the air at Fort Mason, which sits on a pier above San Francisco Bay, forced her to build a stockier wall. One wing of the sculpture even threatened to collapse on Saturday, calling for quick reinforcement. In a drier clime, the taller shape could easily emerge given Rowe’s gift for stretching the proportions of clay.
For another example, because the venue was a ceramic conference, many participants were artists themselves. Rowe and Ari conceive of this work having an expression in a space where most passersby would not have artistic training. It would yield something quite different and perhaps more compelling to Ari, who says, “The point is that art is for everyone. Everyone gets to express. For me, it’s very powerful to invite people to art making in a way that makes them say yes to the process.”
5. “How do you fire it?” is the number one FAQ. The answer is simple, but few can hear it without questioning further.
“So you’re not going to save it?”
“Then what are you going to do with it?”
“Are you going to take it apart and then fire it?”
You have to have compassion toward these reactions because it’s clear that great effort has gone into building this mother cave. The structural ingenuity, the input of so many people, even the cost of the clay—surely it must be saved.
But when a saxophonist stops blowing, or a monk rises from a meditation of pure surrender, or a trick pilot pivots a plane like a beached fish in midair and then recovers, nobody questions why the transcendent emergence has to end. Nobody asks the pilot, “How will you save that moment?” And even fired clay is only a pause in this fluid reality.
(The second most common question is asked by people who have given Rowe and Ari their clay self-portrait: “Where is the piece I contributed?”)
6. Last summer, Ari and Rowe got together at Rowe’s studio in the hills southeast of L.A. Together, they built two small structures to explore the way their languages combine. They also painted two large drop cloths in prismatic colors to serve as a foundation for the sculpture. Their daughters, Galatea and Mirabai, fast friends, played together while their mothers worked.
The artists first met the previous year at the First Ceramics Annual, but even before that, Ari had seen Rowe’s work and recognized a kindred spirit. “When I saw [it], I thought to myself, ‘If I were to make something big, I’d want it to look like that.”
Rowe had also been instantly attracted to Ari’s work, and had actually set one of Ari’s images as her computer’s desktop graphic before the two ever met.
“So when we met, we quickly started talking about collaboration,” Ari relates. “We had similar energy and ideas.” Over the year, these ideas coalesced, leading them to Fort Mason on October 5, 2011, where they spread the canvases, poured a ring of sand for a base, and began to grow the artwork from the ground up.
Interview by Vasi Hîrdo for Ceramics Now Magazine - Issue Two
Translation by Anca Sânpetrean
You are a young ceramist who had started her artistic endeavor early on, during college. How did you discover the passion for ceramics?
I guess it was while working. From one work to another you get new ideas; you get excited, you make things. I remember that at the beginning, in high school, I was fascinated to discover how a crude glaze that was a washy orange became dark green after the firing. When you are applying glazes, a significant part of the process is a mental/ imaginative one. While you are mixing and combining them, you need to imagine their true colors, revealed by the firing process.
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In partnership with Keiko Gallery
Written review of “Keiko Gallery” through interviews with represented Japanese artists who work in ceramics, lacquer, textiles and jewelry.
Keiko Gallery is one of the most appreciated art galleries in the United States that focuses on Japanese art, from ceramics to the innovative lacquer art, textiles, jewelry and painting. Founded in 2003 in Boston, MA, the gallery organized numerous exhibitions of world-recognized Japanese artists.
The special feature includes interviews with 10 artists represented by Keiko Gallery, and lots of images with their works. We took this opportunity because we want to introduce the Japanese contemporary art and craft to a larger audience around the world. It is an excellent chance for our readers to learn more from Japanese artists, to see how they think and how they imagine their works.
KEIKO GALLERY - JAPANESE ARTISTS
View images / Read all the interviews:
Niisato Akio, Ceramics - View his works
Kawabata Kentaro, Ceramics - View his works
Takeuchi Kouzo, Ceramics - View his works
Hayashi Shigeki, Ceramics - View his works
Tanoue Shinya, Ceramics - View his works
Fujita Toshiaki, Lacquer art - View his works
Murata Yoshihiko, Lacquer art - View his works
Jorie Johnson, Textiles - View her works
Takeda Asayo, Textiles - View her works
Mariko Husain, Jewelry - View her works
The feature was presented on Ceramics Now in October 2011, and was published in Ceramics Now Magazine - Issue One. Keiko Gallery has now closed its physical space in Boston and it is relocating all the activity online. The new email address is firstname.lastname@example.org
Above: Kentaro Kawabata, SOOS: Cao-Col, 2012, Porcelain, Silver, 25 x 18 x 40 cm.
In partnership with The Denver Art Museum
Written review of “Overthrown: Clay Without Limits” exhibition at The Denver Art Museum through interviews with exhibiting artists and the curator.
The twenty-five artists in Overthrown: Clay Without Limits took on adventurous challenges to make the works in this exhibition. Most were made especially for Overthrown and many are in direct dialogue with our dynamic Daniel Libeskind-designed architecture; they move beyond the pedestal to the wall, the floor, and even the ceiling. A few extend beyond the Anschutz Gallery, across the entire museum complex. They break boundaries that are physical, technological, conceptual, and spatial.
Working in all scales, from architecturally expansive to almost impossibly small, the artists in Overthrown employ twenty-first-century technology hand-in-hand with standard modeling and molding techniques. They use digital cameras, computers, laser cutters, 3-D printers, and computer-controlled mills along with more traditional tools.
Some push the forms of functional objects. Others push the limits of fragility. They take risks that draw on material chemistry and maverick kiln techniques. Some of their works include not only clay, but also found objects such as metal, plastic, and abandoned industrial materials. Overthrowing our expectations of ceramic art—its size, its context, its methods, and its meaning—these artists show us new ways of using this versatile and timeless material.
OVERTHROWN: CLAY WITHOUT LIMITS
View images / Read all the interviews:
Gwen F. Chanzit, Curator
Katie Caron and Martha Russo
The feature was presented on Ceramics Now in July 2011, and was published in Ceramics Now Magazine - Issue One. The “Overthrown: Clay Without Limits" exhibition was on view at The Denver Art Museum June 11 through September 18, 2011.
Above: Linda Sormin, Mine (i hear him unclip me / blood runs cold), 2010–11. Glazed ceramic; souvenir kitsch; and studio remnants from Tim Berg, Gerit Grimm, Nathan Craven, Robyn Gray, and Ted Yoon. Photo by Jeff Wells.