Şirin Koçak at Kuğulu Art Gallery, Ankara, Turkey
February 10-28, 2014
Photographs by Cemil Erdoğan. Courtesy of the artist.
By challenging the gravity, Daniela Schlagenhauf creates the activity. The body becomes east and the void is movement. Her work embraces the air with such a master that is allowed to be carried by the gentle arabesques. The strictness of the gesture, the rhythmof the curves and the audacity of the empty given, guide you on the due of the choreography.
In his early twenties Johan Tahon dug up in the center of Ghent a majolica milk jug. It proved to be an important discovery: it was made by the Antwerp ceramist of Italian descent Guido Andries. Andries introduced majolica in the Netherlands and in 1520 put up a kiln in the Kammenstraat, not far from where gallery Valerie Traan is now located. This accidental discovery lead to Tahon’s collection of pre-Renaissance pottery and to a growing fascination with the archetypal uses of pottery.
Many Arizonans are familiar with Jun Kaneko’s large-scale ceramic dango sculptures (Japanese for dumpling) at Sky Harbor Airport, and his ceramic tile wall in front of Phoenix Art Museum. Bentley Gallery will be exhibiting his monumental glazed dangos and heads covered in geometric shapes and pure color. The sculptures are made with large amounts of clay, slowly built by hand using the slab technique. The glazing on Kaneko’s new works are reminiscent of his classic dangos, punctuated by graphic polka dots, spirals, stripes, and zigzags in pure black and white. These rhythmic designs are analogous with the Japanese Shinto concept of the Ma, which loosely translates into “attachment through space.”
The opening will also feature Spectra by Adrian Esparza in the Front Gallery. Open studios by current resident artists to follow talks.
In Dark Light: The Micaceous Ceramics of Christine Nofchissey McHorse, Houston Center for Contemporary Craft (HCCC) presents works by one of the most innovative contemporary forces in Native American pottery. Working from traditional materials and techniques, Christine Nofchissey McHorse’s vessel-based art blends the boundaries of pottery and sculpture, erasing the line between function and form. As the Navajo artist’s first traveling exhibition, the show exhibits the unadorned sophistication of the sultry curves, black satiny surfaces, and modern forms of her Dark Light series, created from 1997 to present. An amalgam of Puebloan, Navajo, and contemporary influences, each sculpture possesses a cultural splendor that is as fertile as the Northern New Mexico riverbeds where McHorse harvests her clay.
"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.
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.
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.
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.
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.