Untitled #11A90, 2011, Wood-fired native clay, 18x19x9 inches
Untitled #11A92, 2011, Wood-fired native clay, 12x21x8 inches
Untitled #11A91, 2011, Wood-fired native clay, 14x29x8 inches
Untitled #11A90, 2011, Wood-fired native clay, 18x19x9 inches
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.
Submissions (.docx or .doc files) should be emailed to Vasi Hirdo, Editor-in-Chief, at firstname.lastname@example.org
Also include your CV and a brief biography.
Accepted articles will be published in Ceramics Now Magazine - Issue 3. All credit will be given to the writers, and the articles will be promoted to our readers through Ceramics Now’s website and social media pages. Please note that publishing with Ceramics Now is done on a voluntary basis and will not be remunerated.
Image © Arina Ailincai
Being Here & Being Thus. Sculpture, Object & Stage / Frankfurter Kunstverein, Frankfurt
January 23 - April 13, 2014
Opening reception: Thursday, January 23, 2014, from 8 pm.
The world of things seems to be dissolving. Due to digitalization, our living environment is rapidly becoming more and more immaterial—despite the unlimited amount of consumer items that we encounter on a daily basis. At the same time, it is possible to observe a growing interest in the lost and changing materiality of the world around us. Recently the cultural and social sciences announced a “material turn.” One is discovering the material aspects of knowledge production and social practices as well as the material aspects of communication processes and aesthetic production. Also in sculpture a reassessment of materials, things, and objects seems to be taking place. Bringing together unusual elements, artists are creating a new formal language, which produces a confrontation between the things as they are and the aesthetic of materials.
The exhibition Being Here & Being Thus. Sculpture, Object & Stage presents works by nine artists who use sculpture in a variety of ways. They combine additive and subtractive processes, the manipulation of scale, and installation. Things and materials are cast, folded, glued, carved, and cut; they are combined with additional elements to underscore or minimize physical, symbolic, or narrative qualities. The exhibition unfolds as an exploration of the concepts of “sculpture,” “object,” and “stage.” Some works appear to viewers as a physical counterpart. Others consist of elements, whose former purpose is still recognizable. Nevertheless, the original function of the object is underscored. A third group of works take the form of spatial arrangements that can be entered, variables in a temporary situation in which inter-relationships play a primary role—with the viewer as a component of the work. All works in the exhibition “Being Here & Being Thus” are characterized by an immediate quality. As technical or organic configurations, they convey a character, an expressiveness, and an immense presence, referring thereby to nothing beyond themselves.
Exhibited artists: Maria Anisimowa, Peter Buggenhout, Sandra Havlicek, Sofia Hultén, Sabine Kuehnle, Thomas Moecker, Simon Rübesamen, Michael E. Smith, Andrea Winkler
Curators: Holger Kube Ventura and Lilian Engelmann
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.
It is the utilitarian factory casts behind fine porcelain production, rather than the ornate ceramic confections, that inform Shechet’s “Meissen” series. Her range of sculpture brings to the fore the seams, plate impressions, indentations, inventory numbers, and other evidence of the industrial process that an 18th-century Meissen craftsman would have sought to erase. Almost every sculpture on view in the Museum’s Upper Farago Gallery is derived from one or more of 47 historic Meissen mold patterns, reconceived in unanticipated combinations of forms and scale. Shechet’s complete reinstallation of the Museum’s historic Meissen collection of figurines and tableware in the Porcelain Gallery completes the two-part show—connecting the past and present, fine arts and decorative arts.
“The Museum is excited to present this compelling new work by RISD alumna Arlene Shechet,” says John W. Smith, director of the RISD Museum. “Meissen Recast extends the Museum’s long and groundbreaking tradition of encouraging artists to use the collection—dating from Andy Warhol’s Raid the Icebox (1970) to Spencer Finch’s Painting Air exhibition (2012). By moving some of RISD’s Meissen figures—including the famous Monkey Band—from their normal location in the Porcelain Gallery to the contemporary Upper Farago Gallery and, conversely, inserting her own porcelain sculptures into the cases of the more traditional, wood-paneled room, she heightens our awareness and appreciation for the refined historical pieces and her own more organic, intuitive approach.”
Adjunct RISD Museum curator and exhibition organizer Judith Tannenbaum adds, “Arlene Shechet has become well known for ceramic sculpture that reveals the nature of her materials and working process. By casting fine porcelain in the Meissen factory’s forms designed for plaster, she makes fine porcelain objects out of industrial molds. The surprise is that by looking behind the scenes of this luxury production, which once represented a high-water mark in culture, she has created a body of work that is virtuosic in entirely contemporary terms.”
During her 2012-2013 residency at the Meissen Manufactory, Shechet gained access to all areas of the renowned production facility—working alongside Meissen artisans, learning their techniques, using their tools, and observing the company’s internal traditions. “If there is a common thread in these works, it is my desire to leave a remnant of the memory of the factory. So if a screw is there, I might have cast it along with a fingerprint—I find these inadvertent traces to be beautiful and also thrilling, because they show the original thought that went into the porcelain making and, perhaps, even something of the worker,” the artist explains.
David Hicks: Nucleus / Cross MacKenzie Gallery, Washington DC
January 10 - February 28, 2014
Cross MacKenzie Gallery is pleased to present “Nucleus” an exhibition of new ceramic sculpture by the prolific and compelling California based artist, David Hicks. This is his third solo show at our gallery.
“I am still digging in the dirt to understand my attraction to the agricultural,” the artist says of this new body of work. Though Hicks continues in these botanic and organic themes, his compositions have opened up and become less dense – no longer hanging down with the force of gravity from vertical wires. The new work is metaphorically blossoming. His array of gourd-like shapes of various textures, hues and dimensions are now suspended from a metal armature fixed to the wall, projecting outward like sconces, flower-like, hovering in space.
In her 2013 review of Hicks’ 2011 exhibition, “Farewell” at our gallery for Ceramic Art and Perception, Janet Koplos described Hicks’ sculpture; “the works are wonderfully sensuous abstractions (as all pottery can be) and are especially appealing for both color and texture”.
Every element is unique and unfamiliar, inhabiting a place in one’s imagination between associations: at once a cantaloupe or pear, then a beached bouy, an insect pod, a bird’s nest or an exotic dirt encrusted seed. Koplos describes the density of Hicks’ previous work; “But the numbers, the depth of accumulation and the softly worn surfaces hint that they have been retired and frugally held in reserve. It is a library of objects”. Though the artist still draws from that library, the new presentation is more precious, now demanding examination and appreciation for the individual elements rather than focusing the viewer’s attention on the clustered mass. The ceramic forms are one-by-one lovingly harnessed into fitted brackets, more akin to diamond settings now than the sinkers on fishing lines of the past. Even with the artist’s fresh approach and careful selection, his paring down on the amount of objects in the sculptures, Hicks is far from being a minimalist. His wall pieces continue the artist’s themes of nature’s abundance and excess, the forces of bearing fruit and multiplying.
The sense of planting seeds is even more obvious in the two pedestal pieces in the show that sit tree-like with a central weighted stalk, branching out with the ceramic forms perched on and suspended from the metal limbs. We are tempted with the tactile rawness, to pick the heavy fruit before it drops.
David Hicks received his B.F.A. from California State University, Long Beach, CA. and his M.F.A. from the New York State College of Ceramics at Alfred University. His work is in several prominent collections including the World Ceramic Museum, Icheon, Korea, the American Museum of Ceramic Art–AMOCO, Pomona CA, the American Embassy in Figi through the State Department’s, Art in Embassies program and the Arizona State University Art Museum in Tempe, AZ. He lives and works in Visalia CA. with his wife and new baby daughter.
Tim Rowan Ceramics: Untitled #11A85 / Untitled #11A86, 2011, Wood-fired native clay, 14x26x6 / 13x22x9 inches
Tim Rowan: Untitled #121, 2012, Wood-fired native clay, 12x15x12 inches
Untitled #12246, 2012, Wood-fired native clay, 7x15x4 inches
Untitled #12247, 2012, Wood-fired native clay, 9x10x5 inches