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

art

Dark Light: The Micaceous Ceramics of Christine Nofchissey McHorse / Houston Center for Contemporary Craft

Dark Light, Micaceous Ceramics of Christine Nofchissey McHorse at Houston Center for Contemporary Craft

Dark Light: The Micaceous Ceramics of Christine Nofchissey McHorse / Houston Center for Contemporary Craft, Houston
February 7 – May 11, 2014

Opening Reception: Friday, February 7, 5:30 – 8:00 PM
5:30 - Artist Talk by Adrian Esparza
6:00 - Artist Talk by Christine Nofchissey McHorse

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.

Through the unadulterated beauty of micaceous clay and with Puebloan construction techniques learned from her Taos mother-in-law, McHorse transforms her sketches into voluminous shapes that swell upwards like a natural spring. Dismissing the rudimentary forms that define Native American ethnic identity in craft, she returns to primordial shapes, akin to the modern aesthetic of Henri Moore. Experimenting with shape, mass, volume, and line, she creates organic vessels in the vein of her ancestors, who recognized the spiritual power of water, air, and earth.

To complement her natural forms, McHorse gives each piece its own unique skin by pushing the boundaries of a raw material. Traditionally used for cookware and valued for its structural integrity, micaceous clay permits McHorse to build thin-walled structures that can withstand high temperatures, yielding a black satiny finish. The darkness of the fired clay provides a dramatic contrast to the tiny bits of reflective mica, glistening as light dances across each piece. Using light gradation as her palette, McHorse controls the presence of light by creating differently textured surfaces that either catch or reflect the light.  When combined with the elegance of each sculpture’s form, the element of light in McHorse’s works renders a captivating visual experience.

Born in Morenci, AZ, in 1948, Christine Nofchissey McHorse is a first generation, full-blooded Navajo ceramic artist. After marrying Joel McHorse, a Taos Pueblo Indian, she learned to make pots through his grandmother, Lena Archuleta, who taught her to work with micaceous clay, a rare but naturally occurring clay high in mica content that can be found in the Taos area. McHorse has since become one of the most admired and successful Native potters, working with traditional techniques but making the kind of reductive, sculptural pots that one would have expected Brancusi to make, were he alive today.

From 1963 – 1968, McHorse studied at the Institute of American Indian Arts in Santa Fe, NM, where her studio is now located.  She has received numerous awards from the SWAIA Indian Market, Santa Fe, and the Inter-Tribal Indian Ceremonial, Gallup, as well as the Museum of Northern Arizona. Her works are in the collections of the Denver Museum of Natural History, the Museum of New Mexico, the National Museum of American Art of the Smithsonian Institution, the Navajo Nation Museum, and the Rockwell Museum of Western Art. McHorse also has the unique distinction of winning Best in Show for both pottery and sculpture at the annual Santa Fe Indian Market.

Dark Light: The Micaceous Ceramics of Christine Nofchissey McHorse is organized by The Ceramic Arts Foundation, New York, NY, and curated by Garth Clark and Mark Del Vecchio.

Read More

  • William J. O’Brien: The Lovers / Almine Rech Gallery, Paris

    William O'Brien: The Lovers at Almine Rech Gallery Paris

    William J. O’Brien: The Lovers / Almine Rech Gallery, Paris
    January 9 - February 15, 2014

    Almine Rech Gallery is pleased to announce ‘The Lovers’, the first solo exhibition by William J. O’Brien in France.

    Prior to a major survey exhibition of the young American artist at the Museum of Contemporary Art in Chicago, this exhibition brings together a series of ceramic sculptures made between 2008 and 2013, and a series of new works on paper. This exhibition reflects the diversity of mediums and themes found in O’Brien’s work for almost ten years.

    William J. O’Brien is part of the return to ceramics in contemporary art, seen over the last ten years with artists such as Rosemarie Trockel, Thomas Schütte and subsequently taken on by a younger generation of artists. His ceramic sculptures reflect the extent of his vocabulary by developing complementary or opposite forms: they oscillate between matt and gloss, between anthropomorphic shapes with smudges and drips; as well as geometric abstraction reminiscent of Calder. The shaping hand always present, there is a primitive element that immediately stands out – whether referencing the grinning masks of the South Pacific or the plastic qualities found in the culture of native Americans. For O’Brien this is not an identity issue nor a tribute to a native history: the artist was born in Ohio, and studied at the Art Institute of Chicago, so his use of primitive forms is more akin to Picasso, Paul Klee or the Surrealists; taking an oppositional stance relative to a certain automated sophistication of form found in many artists of his generation. O’Brien’s ceramic practice skillfully plays with this return to primary expressionism (it is curious to note that the artist was an instructor at a center for the mentally ill), a representation of the human sometimes flirting with the grotesque, but presented on pedestals made by the artist, an institutional device that is simultaneously perfect and ironic. This primitive and modernist dual heritage is also an important anchor in teaching at the Art Institute and on Chicago Art, which shapes the sensibilities of such artists as Nancy Spero or more recently Sterling Ruby. Indeed, one of the first group shows to introduce O’Brien was “Modern Primitivism” at the Shane Campbell Gallery in 2009. The Lovers affords us the possibility to understand the extent of his expression, both sensitive and informed.

    Born in 1975 in Eastlake, Ohio, William J. O‘Brien lives and works in Chicago. Recent and important exhibitions include Wet ‘N Wild at Marianne Boesky Gallery (New York, 2013); The Nerman Museum of Contemporary Art (Overland Park, KS, 2012); Works on Paper at SHAHEEN Modern and Contemporary Art (Cleveland, Ohio, 2011); and The Renaissance Society at The University of Chicago (Chicago, 2011). The artist‘s first major survey exhibition opens at the Museum of Contemporary Art of Chicago in January 2014.
    Words by Judith Souriau

    Read More

  • Yeesookyung: The Meaning of Time / Locks Gallery, Philadelphia

    Yeesookyung: The Meaning of Time at Locks Gallery Philadelphia

    Yeesookyung: The Meaning of Time / Locks Gallery, Philadelphia
    February 7 - March 15, 2014

    Artist reception: Friday, February 28, from 5:30 to 7:30 pm.

    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. An illustrated catalog of the works will accompany the exhibition with an essay by writer Robert C Morgan.

    In this exhibition, Yee revisits traditional Korean arts in work featuring porcelain and gold sculptures, silk scroll paintings, and a video dance performance. This work reflects both a wisdom from decades of conceptual art practice and a rigorous formal training in her elegant craftsmanship. Identifying herself as a “local artist,” Yee’s work reflects poetically on specific Korean cultural traditions and histories. But in the context of globalization, the work poignantly reflects how traditions taken from the past are re-imagined and recontextualized.

    Known internationally for her Translated Vase series, Yee collects porcelain shards from Korean ceramists who make reproductions of Joseon Dynasty white porcelain and Goryeo Dynasty celadon masterworks. By making intuitive voluptuous forms out of their “trash”, Yee employs the traditional method of repairing ceramics with gold. Meanwhile the works play with language as gold and crack (both “geum”) are homonyms in Korean.

    Also on view are recent silk scroll paintings from the series Flame Variation. Echoing the graphic iconographic style of the wall paintings of the Gorguryeo Tombs with the spatial organization of symmetrical Buddhist paintings, Yee combines traditional religious imagery with that of fairy tales, cartoons, myths, and allegories. From a distance the scrolls appear to be traditional artifacts, but upon further inspection they are captivating in their non-linear narratives and distinctly contemporary graphic content.

    Yeesookyung’s video dance work, Twin Dance, is an extended meditation on Kyo Bang Choom, a traditional Korean dance performed by women of the Joseon Dynasty. The work explores a relationship with symmetry akin to the silk scroll paintings. The video completes this constellation of works that represent her recent conceptual investigations into Korean cultural traditions with distinctly contemporary approaches.

    Yeesookyung (b. 1963) is an interdisciplinary artist living and working in Seoul, Korea. She recieved both her undergraudate degree and MFA in painting from the National University in Seoul. The artist has completed residencies at Villa Arson, Apex Art, and the Bronx Museum. Yee’s work has been shown internationally at the 6th Gwanju Biennale (2006), ARCO (2007), the 5th Liverpool Biennal (2008) the Vancouver Biennale (2009), the Buson Biennale (2010), and the 18th Biennale of Sydney (2012). She has been included in notable recent exhibitions including “Women In-Between: Asian Women Artists 1984-2012” at the Fukuoka Asian Art Museum, the 2012 Korea Art Prize exhibition at the National Museum of Contemporary Art in Seoul, Korean Eye 2012 at Saatchi Gallery in London, and The Collectors Show: WEight of History at the Singapore Art Museum in 2012. Her works can be found in the collections of the National Museum of Contemporary Art in Korea, Los Angeles County Museum of Art, Museum of Fine Arts in Boston, IFEMA ARCO Collection in Madrid, Echigo-Tsumari City Collection Japan, Saatchi Collection in London, the Spencer Museum of Art at the University of Kansas, among others.

    Read More


  • Mixed Display 2014 / Marsden Woo Gallery, London
    January 10 - February 15, 2014

    Photos © Philip Sayer, courtesy of Marsden Woo Gallery, London.

    > More exhibitions / View the list of contemporary ceramic exhibitions

  • Anne Wenzel: The Opaque Palace / TENT Rotterdam

    Anne Wenzel The Opaque Palace at TENT Rotterdam

    Anne Wenzel: The Opaque Palace / TENT Rotterdam
    February 6 - May 5, 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.

    The Opaque Palace exhibition unfolds as a route through an abandoned palace laden with old, long forgotten stories. A palace where light enters through a broken window, and a net curtain is stirred by the breeze. For her largest solo exhibition yet, Anne Wenzel uses works from the past decade to construct a mental puzzle in TENT. With every space you enter, the function, symbolism, and impact of the objects seem to be further derailed, until they seemingly dislodge from their traditional meaning: sculptures become trophies (or quite the opposite), either paying tribute to heroes or denying heroism altogether. Anne Wenzel’s work resists any interpretation lurking behind their undeniable physicality.

    In the monumental emptiness of the main hall, which could be interpreted as a ballroom, a black chandelier has slumped before a wall of shiny gold; the object of light becomes an extinguished mass. In TENT’s back space, Wenzel presents her latest series of works, Attempted Decadence: a group of lavishly decorated ceramic flower sculptures. What life remains – temporarily saved by the art – is already a witness to its own decline. In this ‘Opaque Palace’, everyone is free to reinvent the past that made visions like this possible.

    From a strong historical sense and with great political engagement, Anne Wenzel puts the role of art in the portrayal of power, heroism, and violence in another light. She is renowned for her self-determined approach to handling materials and technology. Experimenting with extremes of scale, chemical additions, and radical deformation, she seeks out the boundaries of the sculptural medium. Wenzel draws inspiration for her monumental ceramic sculptures from historical sources, film, and literature, as well as from the media and its newsworthy images of natural disasters, conflict, and acts of war. Her attention to universal subjects connects her to a growing number of artists who transcend post-modern irony and are not afraid to, again, address existential themes.

    Wenzel has lived and worked in Rotterdam since 1999. Her work is included in museum collections (Museum Boijmans van Beuningen, Stedelijk Museum ‘s Hertogenbosch, S.M.A.K. Ghent, et al.) and in many private collections. She is represented by gallery AKINCI in Amsterdam, Galerie Tatjana Pieters in Ghent, and Galerie Suzanne Tarasieve in Paris.

    Anne Wenzel The Opaque Palace at TENT Rotterdam

    Accompanying the exhibition is an extensive monograph, Anne Wenzel - Prospects of Perception, published by Lecturis in collaboration with TENT and designed by 75B. It includes texts by Philippe Van Cauteren (director S.M.A.K. Ghent), Sjarel Ex (director Museum Boijmans van Beuningen), Daria de Beauvais (curator Palais de Tokyo, Paris) and Mariette Dölle (artistic director TENT), and photographs of her most important sculptures and installations from the past decade.

    Read More


  • Tim Rowan Ceramics:

    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

  • 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.

    Read More


  • Gareth Mason: More is more / Jason Jacques Gallery, New York
    January 22 - February 22, 2014

    © Images Courtesy of Jason Jacques Inc.

    > More exhibitions / View the list of ceramic art exhibitions

  • Ceramics Now Magazine announces open Call for Papers (Issue 3)

    Ceramics Now Magazine announces open Call for Papers, Issue 3

    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 vasi@ceramicsnow.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


  • 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


  • Tim Rowan:
    Untitled #12246, 2012, Wood-fired native clay, 7x15x4 inches
    Untitled #12247, 2012, Wood-fired native clay, 9x10x5 inches

  • All work is copyright of respective owner, otherwise © 2014 Ceramics Now. Website powered by Tumblr.