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