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

Craft

Beyond Craft: Decorative Arts from the Leatrice S. and Melvin B. Eagle Collection / Museum of Fine Arts, Houston

Beyond Craft Decorative Arts exhibition Museum of Fine Arts, Houston

Beyond Craft: Decorative Arts from the Leatrice S. and Melvin B. Eagle Collection / Museum of Fine Arts, Houston
February 23 - May 26, 2014

In February, the Museum of Fine Arts, Houston, will present the first major exhibition of the Leatrice S. and Melvin B. Eagle Collection, a remarkable group of 170 artworks—ceramics, fiber work, furniture, glass, jewelry and works on paper—acquired by the Museum in 2010. Beyond Craft: Decorative Arts from the Leatrice S. and Melvin B. Eagle Collection will showcase 85 objects by 50 artists—including Olga de Amaral, Robert Arneson, Viola Frey, Sam Maloof, Richard Marquis, Albert Paley, Ken Price, Peter Voulkos and Toshiko Takaezu—and highlight important studio objects made from the mid–1960s to the 2000s with a focus on the 1960s–80s, the collection’s great strength.

“Lee and Mel Eagle were adventurous collectors at a time when the boundaries between high art and studio craft were challenged by cognoscenti and prescient dealers; the result is a distinctive collection that reflects the technical innovations and shifting tastes of the last half century,” said Museum director, Gary Tinterow.

“Since the Museum acquired the collection in 2010, many of the works have been featured in permanent collection presentations, providing glimpses into its riches,” said Cindi Strauss, curator of Modern and Contemporary Decorative Arts and Design. “Now, for the first time, the Museum will present the collection and visitors can experience the power of these individual objects while appreciating the Eagles’ vision as collectors.”

Leatrice and Melvin Eagle began by collecting works of clay in 1960 and the medium remains at the heart of their collection to this day. Lee’s early training as a ceramist led to a lifetime devotion to clay, a passion that Mel has shared with her over the years. As the couple became sophisticated observers of the field and their preferences took shape, they successfully assembled a museum-quality collection of ceramics, fiber art, furniture, jewelry and prints, paintings and drawings. Their passion grew beyond living with objects to encompass a deep respect for art and artists, as well as a lifelong commitment to promoting and supporting their work through institutional and personal involvement.

Beginning with the 1973 establishment of Eagle Ceramics—a business that provided the resources to make and teach ceramics—the Eagles immersed themselves in the art community and began forming relationships with many prominent artists. From 1979 to 1983, Montgomery College, Eagle Ceramics and the American Hand Gallery in Washington, D.C., collaborated to present of a series of workshops, lectures and exhibitions called “Making It in Clay.” These events enabled the Eagles to meet prominent artists and the couple started collecting their works in depth. Ralph Bacerra, Don Reitz, Adrian Saxe and Michael Cardew have remained touchstones for the Eagles and lasting friendships with the artists resulted from these initial meetings. In the 1990s and early 2000s, the Eagles were inspired to acquire collection subsets in jewelry, fiber and furniture and expand their significant holdings in West Coast ceramics, particularly those made in the 1960s and 1970s during the heyday of the Funk movement.

The Museum’s embrace of craft as an art form led to the Eagles’ choice of the Museum of Fine Arts, Houston, as the new home for their collection in 2010. Since that time, the Eagle Collection has been a great asset to the permanent collection, enhancing its strengths in ceramics, glass and jewelry, and filling major gaps in fiber and furniture.

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  • Turn, Weave, Fire, and Fold: Vessels from the Forrest L. Merrill Collection / SFO Museum, San Francisco

    Vessels from the Forrest L Merrill Collection at SFO Museum, San Francisco

    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. Forrest’s newly discovered passion for the vessel led to his collecting Scandinavian ceramics while attending the University of Stockholm in Sweden. After settling in Northern California, he became close friends with Bauhaus-trained potter Marguerite Wildenhain, who worked and taught at her studio in the hills above Guerneville, California. It was Wildenhain whom Forrest credits as the influence who encouraged him “to not only look, but to see.”

    The San Francisco Bay Area was an exciting place during the 1960s, especially in the world of crafts, with local artists pushing the boundaries in every medium. Forrest took full advantage of their close proximity, and his acquisitions were decidedly personal. It was during this period that Forrest discovered the elegant bowls of wood turner Bob Stocksdale at the Berkeley home-furnishings store Fraser’s. Forrest approached the artist with an offer of wood from trees that he had cut down in his yard, and thereafter acquired a bowl that Bob made from that very wood. This was the beginning of a rich and enduring friendship with both Stocksdale and his wife, fiber artist Kay Sekimachi. Celebrated for her sculptural monofilament hangings and woven room dividers, Sekimachi was exploring vessel forms at the time, which materialized as woven boxes and baskets, and leaf bowls.

    In 1974, Forrest met artist June Schwarcz at an exhibition of her enamel vessels at the Anneberg Gallery in San Francisco. An invitation of tea and conversation at June’s Sausalito home and studio led to a close relationship, which they have enjoyed for decades. And it was an invitation to lunch that sparked Forrest’s friendship with potter James Lovera, just prior to Lovera’s retrospective exhibition at the Crocker Art Museum in Sacramento in 2006. Forrest had admired Lovera’s ceramics offered at Gump’s gallery in San Francisco as early as the 1960s, and he has since acquired a number of Lovera’s vessels, more recently collecting the artist’s work in depth.

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  • COMMON GROUND: Craftsmanship in Ceramics, Jewellery, Basketry and Wood / Oxford Ceramics Gallery, Oxford, UK

    COMMON GROUND exhibition, Oxford Ceramics Gallery

    Craftsmanship in Ceramics, Jewellery, Basketry and Wood / Oxford Ceramics Gallery, Oxford, UK
    December 1, 2013 - January 12, 2014

    Oxford Ceramics is staging its first exhibition of contemporary applied art in December, with ceramics, wood, basketry and jewellery by some of the UK’s most distinguished artists. The exhibition celebrates the richness and diversity of their work, as well as a shared quality of fine craftsmanship. It will be on show at Oxford Ceramics Gallery until January 12, 2014.

    Ceramics are central to the exhibition, with exciting new work by Carina Ciscato and Tanya Gomez. Carina Ciscato is one of the most individual voices in the world of contemporary ceramics. Her architectural vessel forms are constructed from different thrown components, each with its own rhythm and pattern of throwing rings. Her approach is largely intuitive, and her exciting, fluid forms evolve in the making.

    Bold saturated colour is a trademark of Tanya Gomez’s cylindrical, flat-topped pots. Recently, however, she has introduced an altogether more restrained palette of celadon, white and coal black. The smooth openings of her coloured pieces have been replaced by a sharp, torn gash, adding an immediacy and edge to her work.

    Wood as an art form has been enjoying something of a renaissance in recent years, and exhibitor Jim Partridge - renowned internationally for his serene, beautifully crafted work - is one of its most compelling exponents. His spherical bowls and open vessels are carved from oak, then scorched and polished to a rich, deep black or washed in matt white. The striking studio furniture made by Partridge and Liz Walmsley is also represented in the show - minimal yet monumental, with a quiet, strong presence.

    Irish wood turner Liam Flynn makes smooth, rounded vessels in which the character and grain of the wood is integral to the design of the piece. He works mainly in Irish oak, often ebonised, with fine detailing: his bowls may be footed, fluted or double rimmed, with a gently undulating profile.

    Wendy Ramshaw CBE is acknowledged as one of the greatest jewellery designers of our time, whose work is represented in some 70 public collections worldwide. She is best known for her signature ring sets, which she displays on elegant, tapered stands. These are, in her own words, “both a sculptural object and a collection of rings”, which can be worn singly or in different combinations to suit the wearer.

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  • Craft Spoken Here / Philadelphia Museum of Art

    Craft Spoken Here exhibition at Philadelphia Museum of Art, Philadelphia, USA

    Craft Spoken Here / Philadelphia Museum of Art, Philadelphia, USA
    May 5 - August 12, 2012

    Crafts were prominent among the first works of art to enter the collections of the Philadelphia Museum of Art when it was founded in 1876, and the Museum has continued to collect and exhibit crafts. Today, thanks in large part to the Women’s Committee and gifts from individuals, the Museum is particularly well-known for its holdings of twentieth-and twenty-first-century American, European, and Asian craft.

    With Craft Spoken Here, the Museum seizes the opportunity to experiment with its collection and to understand craft in an international context. Some forty contemporary works from 1960 to the present in ceramic, glass, metal, wood, lacquer, paper, and fiber—some by living, acclaimed artists and others by lesser-known creators—are on view. Representing the Americas, Africa, Asia, and Europe, the works highlight formal qualities that cross cultures, time, and media.

    Craft Spoken Here features an array of engaging education programs and interpretive materials, including on-site artist demonstrations and hands-on craftmaking activities for the public.

    The exhibition is divided into three sections. Essential Element looks at continuing importance of line—the graphic gesture—as an expressive and compositional element in the work of artists. Rebecca Medel’s The One (1985) uses a network of lines to form a dense cube of knotted cotton and linen threads, dark on its fringes and progressively lighter towards the center, which creates the illusion of a luminous sphere floating in an atmospheric haze. The second section, Shape Shifting, includes works in clay, glass, wood, metal, paper, and fiber materials that have been fashioned into sculptural forms. Motoko Maio’s Kotodama (2008) is a folding screen in silk and linen that can be adjusted to divide a room, provide privacy, or rest decoratively in a corner. The final section is Gesture, which includes works that offer visual and emotional cues, such as the chaotic, seemingly uncontrollable framework of Jessica Jane Julius’s Static (c. 2008), in which hundreds of black glass flameworked threads combine in a sculptural evocation of the artist’s reoccurring dream.

    Curator
    Elisabeth Agro, The Nancy M. McNeil Associate Curator of American Modern and Contemporary Crafts and Decorative Arts

    The exhibition is made possible by The Leonard and Norma Klorfine Foundation Fund for Modern and Contemporary Craft. Additional support is provided by the Windgate Charitable Foundation and the Center for American Art at the Philadelphia Museum of Art. In-kind support is provided courtesy of Lion Brand Yarn.

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  • Deborah Britt: Pitcher Set, 9” x 14”, Wheel-Thrown and Altered, Salt-Fired with Slip and Glaze Decoration, Cone Ten, 2011

  • Marie T. Hermann: You are my weather #B, 2011. Stoneware, 18 x 7 x 7 in.

  • Corner Series by Wim Borst, Meesterlijk - Design and Craft

    Corner Series by Wim Borst at Meesterlijk - Design and Craft / RAI Amsterdam

    Corner Series by Wim Borst at Meesterlijk / RAI Amsterdam, Hall 9 stand 39
    24 September - 2 October 2011

    Meesterlijk presents designers and craftsmen who elevate ordinary utensils, objects, furniture and accessories to icons with timeless allure. This extraordinary quality of Dutch designers, to combine the esthetic with the practical, has been known worldwide for ages.

    Meesterlijk strives to strengthen the bond between modern design and craftsmanship. At the fair designers and manufacturers of handmade products will be standing shoulder to shoulder with the practitioners of traditional crafts, such as jewelry making and woodcarving. Unique furniture and other products are for sale, such as glass, metal and ceramic objects and also fashion accessories, such as tailor made shirts, shoes (ladies and gentlemen’s), hats, bags, jewelry etc.

    The fair takes place in the same building and at the same time as Woonbeurs Amsterdam, the largest event on living, interior and garden of The Netherlands.

    Opening times:
    Saturday, Sunday, Tuesday, Wednesday: 10.00 - 18.00 h
    Thursday and Friday 10.00 - 22.00 h
    Monday 26 September only open for invited professionals.

    Wim Borst Ceramics - View Wim Borst’s profile on Ceramics Now Magazine.
    Jan Bontelaan 6, 2015 EH Haarlem. Tel: +31(0)23 524 87 97
    info@wimborst-ceramics.nl, www.wimborst-ceramics.nl

    www.meesterlijk.nu

  • Arthur Gonzalez: A Heap of Snow

  • Akiko Hirai: Wild Flower Vase

  • Claire Muckian: Djed Pillar IV

  • Celeste Bouvier: Ceramic Teapot #2

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