2nd International Ceramic Art Symposium “LANDescape” - Ceramic Laboratory: Call for Applications

2nd International Ceramic Art SYmposium LANDescape Daugavpils

2nd International Ceramic Art Symposium “LANDescape” - Ceramic Laboratory: Call for Applications
Submissions deadline: June 15, 2014

Dates: August 11-25, 2014
Location: Mark Rothko Art Center, Daugavpils, Latvia

International Ceramic Art Symposium “LANDescape” 2014 is a joint initiative of Daugavpils Clay Art Center and Daugavpils Rothko Art Center which emerged from both partner organizations’ activities and cooperation aimed at promoting contemporary art, including contemporary ceramic processes in Latvia.

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7 Ceramic Art Competitions and Fairs Where You Should Participate in 2014

Ceramics Now comprised a list of 7 ceramic art competitions and fairs where artists can apply to participate in 2014. Be quick, the deadlines are approaching fast!


image1. INTERNATIONAL CERAMICS COMPETITION MINO, JAPAN

The competition is the main event of the International Ceramics Festival Mino, which is held with the aim of supporting growth of the ceramics industry and the enhancement of culture through global exchange of ceramics design and culture. The first festival was held in 1986, and this will be the 10th edition. The last edition gathered 2777 entries from 57 countries. It is considered the largest event in the world entirely dedicated to contemporary ceramics.

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Applications are open for ceramic symposiums in Latvia

Applications are open for ceramic symposiums in Latvia

Leading Latvian and worldwide well known award winning porcelain and ceramics artists Ilona Romule and Peteris Martinsons invite artists to spend the summer together in Latvia, Zvartava manor.

During 21 – 31 July, 2013 in Zvartava manor will be held Masterclass “Lithophane” – a practice based workshop in lithophane technique by Ilona Romule for participants with figurative and narrative ideas.

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ACGA National Clay & Glass Exhibition: Call for entry

ACGA National Clay & Glass Exhibition: Call for entry

ACGA National Clay & Glass Exhibition: Call for entry
Entry Deadline: October 31, 2012

Dates: January 26 - March 1, 2013

The ACGA National Clay & Glass Exhibition will take place January 26 – March 1, 2013 near Los Angeles at the City of Brea Art Gallery. The exhibition will showcase a wide range of handmade ceramic and glass artwork from across the United States.

The juror is Carol Sauvion, Executive Director of Craft in America, Inc., a non-profit organization dedicated to presenting the history, practitioners and techniques of craft in the United States, and their impact on our nation’s cultural heritage. The centerpiece of the Craft in America effort is its production of a nationally broadcast documentary series celebrating American craft and the artists who bring it to life. The Peabody Award winning Craft in America series airs nationwide on PBS.

The competition is open to all forms of handmade clay and glass: functional, decorative and sculptural. The deadline for submission is October 31th. The entry fee is $30 for three pieces of artwork. Awards will be given. The online entry form is available at www.acga.net.

The Association of Clay and Glass Artists of California (ACGA) is a non-profit membership organization begun in 1945. It is dedicated to establishing and maintaining high standards of craftsmanship and design in clay and glass.

Eligibility
This competition is open to artists residing in the United States, 18 years or older. Artwork must be composed of at least 75% clay, glass, or a combination of the two, and may be functional or sculptural. All entries must be original and executed by the artist within the past two years. Works may not have been previously shown at the City of Brea Art Gallery.

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1st Santorini Biennale of Arts: Open Call for Applications

The Inaugural Santorini Biennale of Arts: Open Call for Applications 2012

The Inaugural Santorini Biennale of Arts: Open Call for Ceramic Art
Submissions: March 6 - May 19, 2012

Dates: July 1 - September 30, 2012

Within the framework of the 1st Santorini Biennale of Arts in 2012, ceramic artists and potters are invited to send in their artworks for consideration for this international exhibition at which a meeting of artists from all over the world will present their latest achievements.

The 2012 theme, ‘The Past: Memory and Nostalgia’, will examine intrinsic experiences and social relationships, inspired by how humanity accumulates a catalog of our personal fabric and how these collected manifestations shape the patterns of our lives. The subject ‘The Past’ is an integral part of Ceramics. The medium reflects the Past by default. But we are asking for more than the obvious reference of technique, we want interpretations of scenarios, memories or objects from the Past, contemporary or otherwise. We want to forge pathways of communication linking the Past and Present. Special consideration will be given to artworks relating to Ceremony & Ritual and also to those that will form a connection with the space they will be presented within.  

The mission of the Biennale is to promote both emerging and established artists through a wide variety of disciplines; from Drawing, Graphic Design, Illustration, Collage and Comics, through Paper, Painting, Glass, Sculpture and Ceramics, to Photography, Short Film, Video Art, Installation and Industrial Design.
By means of an advanced framework of outreach activities the Biennale will also seek to cultivate the emerging spirit of the island, inviting all participants into an open dialogue concerning new ideas for social change.

The curatorial team
Dimitra Bratika and Michael Vlavianos (Photography), Sara Falanga (Glass Art and Graphic Art), iLya (Comics), Rajesh Punj (Sculpture and Installation), Alexa Kusber (Industrial Design), Tracey Holt Walkden (Ceramic Art), Tomas Poblete (Collage), Paola Gentili (Paper), Nicky Peacock (Illustration), Simon Tarrant (Painting), Anneca York (Drawing) and Holly Bynoe (Video Art and Short Film).

The open call for artist submissions is from March 6 through May 19, 2012.

For further information visit Santorini Biennale’s website.

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Sharjah Art Foundation Open Call: Production Programme 2012

Sharjah Art Foundation Open Call: Production Programme 2012

Sharjah Art Foundation Open Call: Production Programme 2012

Sharjah Art Foundation announces the 2012 Production Programme Open Call for grants to artists working in a range of media. Up to $200,000 is available in this application cycle. Deadline: 24 February 2012.

The Sharjah Art Foundation (SAF) Production Programme broadens the possibilities for the production of art in the MENASA region through a commitment to support innovation and excellence in artistic practice by encouraging risk and experimentation. This commitment places artists at the core of the Foundation’s mission by offering grants and professional support for the realization of projects selected from an open call for proposals.

The past decade has seen an extraordinary rise in artistic activity throughout the Middle East, resulting in an increased visibility for artists both regionally and internationally. Within this context, the Foundation hopes to promote and encourage an environment of public and private patronage for the highest level of artistic endeavour. This programme focuses on supporting artists in their individual attempts to create work on a scale they have perhaps never imagined possible.

Arts practitioners are invited to propose imaginative, ambitious and inspirational projects that will transform our understanding of what art is and how it can be experienced. With this initiative we hope to engage and challenge the artists, our audiences and ourselves aesthetically, intellectually, emotionally, socially, politically or in ways new and unexpected.

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Ceramic Artist Residency at Core Clay, Cincinnati, OH, USA

Ceramic Artist Residency at Core Clay, Cincinnati, OH, USA

Ceramic Artist Residency at Core Clay, Cincinnati, OH, USA

We are a ceramic Artist Residency program that is formatted in a work exchange manner. Resident is provided with an apartment directly next door to the studio, RENT FREE in exchange for a certain number of hours of work per week in the studio. Artist in Residence opportunities include monthly clay outings, studio critiques, clay supplies at cost during residency, free attendance at visiting artist workshops, opportunities to participate in sales at Core Clay as well as opportunities for additional income in exchange for labor beyond the original contract hours. And a free large, designated studio space.

Core Clay is a privately owned clay studio with 40+ artists sharing space. We house a sculpting studio for a mannequin prototype sculptor and a retail space for clay supply. We host workshops with nationally known andlocal artists. Each of these areas interacts with the artists in residence.

The goal of the Artist in Residence program is to provide an opportunity in an artists community for clay artists at the beginning of their careers to get a start as full time professional artists.

Artist in Residence Application:
- A portfolio of 20 shots of work (printed, on disc, or slide, we’re not picky)
- Recommendations from 3 ceramic artists or instructors
- A brief statement of goals and objectives to work toward during residency. What do you expect from your experience?
- Fill out this application
- Put all these into an envelope and send it to:
Core Clay, Attn: Laura Davis, 2533 Gilbert Ave, Cincinnati, OH 45206

Contact
Laura Davis
513-961-2728
laura@coreclay.com

Above: Lady Clementine, Mixed Media, 2011, by Jamie R. Muenzer, Artist in Residence at Core Clay 2012

Making or unmaking? The Contexts of Contemporary Ceramics - Conference in Bergen, Norway

Making or unmaking? The Contexts of Contemporary Ceramics, Conference in Bergen, Norway

The Contexts of Contemporary Ceramics - Conference
27th - 29th of October 2011

The opposition between studio and industrial ceramics that has had such a central place in the self-understanding of studio ceramists, no longer seems meaningful. A shift from production to reproduction has taken place. Images and patterns from different sources are appropriated and manipulated. Mass-produced objects, often characterized by disuse, disruption and damage, have come to be increasingly used as raw materials. The relationship between artist and artisan has also changed. The conference focuses on the way in which these changes influence contemporary making, and how they contribute to the unmaking of conventional understanding of ceramics and craft practices in general.

SPEAKERS
Glenn Adamson, Barnaby Barford, Marek Cecula, Nicole Cherubini, Mònica Gaspar, Tanya Harrod, Ben Highmore, Gitte Jungersen, Søren Kjørup,Carol McNicoll, Kevin Murrey, Andrew Livingstone, Michael Petry, Mike Press, Paul Scott, Ezra Shales, Richard Slee, Caroline Slotte, Linda Sormin, Hans Stofer, Clare Twomey, Jorunn Veiteberg and Anne Britt Ylvisåker.

EXHIBITIONS
West Norway Museum of Decorative Art: Thing Tang Trash. Upcycling in Contemporary Ceramics (curator: Heidi Bjørgan); Galleri Rom 8: Kjell Rylander; Hordaland Art Centre: Shot: Textiles and Photography (curator: Glenn Adamson); Galleri Format: The Red Room (curator: Heidi Bjørgan); Galleri Fisk; S12: Young and Loving.

LOCATION
Terminus Hall, Hotel Grand Terminus, Bergen, Norway.

PROGRAM
Thursday Oct 27, 10.00-18.00
Workshop 1: History Lessons

Glenn Adamson (USA/UK): Ten easy pieces: Postmodernism and the found object
Carol McNicoll (UK): Domestic collage
Richard Slee (UK): The way he is sourcing things
Ezra Shales (USA): The museum as medium-specific muse
Clare Twomey: Manufactured not made
Caroline Slotte (FI): Long exposure
Paul Scott (UK): Willows, windmills and wild roses. Recycling and remediation
Tanya Harrod (UK): Memory work: Craft and art in post-industrial Europe

Exhibitions: Thing Tang Trash. Upcycling in Contemporary Ceramics, Art Museums Bergen/Permanenten (19-21)

Friday Oct 28, 9-17
Workshop 2: Object Lessons

Ben Highmore (UK): The poetics of made things
Hans Stofer (CH/UK): ’Biting into a cherry does not prepare you for the stone’
Mònica Gaspar (ES/CH): Craft in its gaseous state: An exhibition report
Andrew Livingstone: The ceramic regurgitant: sustainability and the readymade
Barnaby Barford (UK): Appropriation, narrative and humour
Gitte Jungersen (DK): Place to be lost, materiality and meaning in my work
Jorunn Veiteberg (NO): The Duchamp effect in ceramics

Exhibition openings: Kjell Rylander Rom 8; B.T.2011, Galleri Format (curator: Heidi Bjørgan); Textiles and Photography, Hordaland Art Center (curator: Glenn Adamson); Young and Loving, Gallery S12.

Saturday, Oct 29
Workshop 3: Institutional Lessons

Michael Petry (UK): The art of not making: The new artist/artisan relationship
Marek Cecula (PL): Industrial interventions
Anne Britt Ylvisåker (NO): The museum: New potentials
Linda Sormin (CA/USA): Chinese Take-out
Kevin Murrey (AU): The new do-it-themselves ceramics: throwing out the baby with the mud?
Mike Press (UK): Handmade knowledge. The new challenge for craft.
Søren Kjørup (DK): A philosophical perspective: A new history, a new order.

19.00 Dinner, Grand selskapslokaler.

Reservations

The research conference is organized by K-verdi (www.k-verdi.no) at Bergen National Academy of the Arts, in collaboration with Art Museums of Bergen. Supported by the Norwegian Research Council, Bergen National Academy of the Arts, Bergen kommune, Hordaland Fylkeskommune and Norske Kunsthåndverkere.

NCECA 2012 Projects Space: On the Edge

NCECA 2012 Projects Space: On the Edge

NCECA 2012 Projects Space: On the Edge

ENTRY DEADLINE: Friday, November 4th, 2011 (midnight MDT)

To be “On the Edge” is to be balancing yet changing, openly vulnerable and possibly ephemeral, about to plunge into a place that is undefined, unconventional and unexpected. “On the Edge” can be applied to virtually anything, from an impeding natural force to a chemical process, to a human emotion, memory, or condition. The dynamic and ever-changing landscape of the Pacific Northwest is a geographical manifestation of this concept and is at its most vigorous along the shores of Seattle and the Puget Sound-the site of NCECA’s 2012 Conference.

“On the Edge” can also easily be applied to the medium of clay. Of all the materials that artists reach for, it can be argued that clay holds the most fundamental potential: able to immediately respond to the force of a touch, constantly changing and moving on to the next edge of expression. 

For the 2012 Projects Space in Seattle, artists are invited to consider the possibilities that lie within the medium of clay and submit works that consider the concept of “On the Edge.” Now in it’s third year, NCECA’s Projects Space is a platform for ceramic artists to present works that embrace the medium not as an end, but as a means of embracing the material as a physical metaphor, allowing it to communicate beyond the expected. Jurors Linda Ganstrom, Marianne McGrath, and Jeffry Mitchell are looking for submissions that not only actively embrace the concept of “On the Edge” using the medium of clay as a central focus, but also engage their materials, processes, and audience in unique and unconventional ways. Artists should keep in mind that the Projects Space Exhibition lies in the Central Hall at the heart of the NCECA Conference, and works are meant to grow and change throughout the duration of the conference.

Five juried and invited artists will be assigned a 10’ x 19’ raw space in the Central Hall of the Seattle Convention Center to create their works during the week of the 2012 NCECA Conference. Artists will have from 9am to 4:30pm Tuesday, March 27th to install their materials and begin their piece. The artists will be featured guests at a reception Tuesday evening. Artists will continue to interact with their materials and piece throughout the conference ending Friday, March 30th at 5pm. Artists will de-install and clean their spaces from 5-9pm that evening.

DETAILS:

  • Selected and invited artists will receive a 2012 Conference Pass and a $500 stipend. The stipend is all-inclusive and is meant to aid in the purchasing of materials for the work, and in the shipping of the work to and from Seattle.  Artists will be responsible for all shipping costs and ensuring all their materials are available for the installation to begin at 9am on Tuesday, March 27th. Artists shipping directly to and from the WSCC will make arrangements with NCECA staff, and will incur an additional fee for signing. Artists will receive approval for payment of their stipend based on the condition that their space is left clean, without debris, or leftover materials of any kind. There should be no evidence of the piece remaining in any form. Plastic sheeting will be available for the floor, and the spaces will be clearly delineated. 

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