By Rachel Dickson, 2014
It is no coincidence that we refer to the ‘making’ of a drawing. To draw is to make and to make is to draw. To draw on skills, experience, material qualities, the past, a glimpse of the future and the influence of others. Others who have taught us, told us their stories, showed us their own secrets and entrusted us to pass them on. Others we have never met.
How do we learn to explore our own stories through material and line. Is this a skill developed by chance, by coincidence, through the influence of other ‘drawings’, by experimentation, or being directed. Yet in all cases the link between the head and hand unfolds through the ‘drawing’. The hand often answers many questions that the mind or sketch cannot, and there may also be lessons to be learned of trust.
By Debra Sloan, 2014
In the province of British Columbia, on the far western edge of Canada, the ceramic culture was initiated through international immigration during the 20th Century. BC is one of the few places in the world where the indigenous people did not develop a ceramic technology.
Instead the First Nations were and remain masters of wood — their source of all things practical and expressive. Ceramic knowledge had to be imported, and a local audience is still in the process of being cultivated. The variability of the BC ceramic practice reflects the waves of immigration that have and continue to flow into this region. Equally various are the recipients — a polyglot of information meeting a polygon culture.
By Hagai Segev, 2014
“Up until two years ago, my father, Yaakov, had an agricultural mechanization workshop. Every time I visited the workshop, I found myself entranced by the power of the iron boards and the pile of black and rust colored iron pipes of different diameters, waiting to be used”, Simcha Even-Chen reminisces.
“When I saw the call for entries for the contest and exhibition at Kapfenberg, Austria, entitled “At the Moment”, I decided to use these memories of my father’s workshop. This was the birth of “A Moment Before…” a work I created in 2009, which has since led to the growth of a whole body of works”.1
The memories that awakened this body are the evolution of the artistic research Even-Chen had been immersed in during the period of 2006-2009. This group of sculptures, entitled “Illusion”, was exhibited at The Fifth Israeli Ceramics Biennale at The Eretz Israel Museum (2008), among other places, and even received the Gold Coast International Ceramic Art Award.
Transformation 9: Contemporary Works in Ceramics / Contemporary Craft, Pittsburgh
April 25 - November 1, 2014
The Transformation series, one of the Society for Contemporary Craft’s signature programs, was established in 1997 as a biennial juried exhibition focusing on traditional craft media–glass, wood, metal, clay, and found materials–in rotation. The exhibition seeks out an international selection of artists redefining their medium to create work that is challenging and thought provoking; inviting us all to reconsider our notion of “craft.”
This year’s focus is on clay. Clay has been used, decorated, coveted, and collected for thousands of years, yet in the hands of contemporary artists this irresistible medium continues to surprise through innovative techniques, forms, and functions.
Byrdcliffe Artist in Residence Program / Woodstock, NY
Applications deadline: March 15, 2014
The Byrdcliffe Artist in Residence program provides artists of exceptional talent with uninterrupted time and creative space to research and create new work. Lasting four weeks (or a possible eight weeks for ceramic artists), residencies provide artists with private studio space within a community of peers and the serene natural setting of the Byrdcliffe Art Colony.
Red Lodge Clay Center Long Term Residency / Red Lodge, Montana, USA
Application Deadline: February 1st, 2014
The Long-Term Residency (September 1 - July 31) is ideal for committed individuals in transition from post baccalaureate studies to graduate school, as well as those pursuing the development of professional artistic careers. Self-directed ceramic artists searching for the time, space and resources needed to explore new ideas and create new work will enjoy the rural mountainous setting.
CLASS OF 2013 / The National Centre for Craft and Design, Sleaford, UK
November 22, 2013 - January 19, 2014
Each year,The National Centre for Craft and Design in Sleaford, Lincolnshire, UK selects work by the very best of the current year’s graduates from art colleges and universities all over the UK, and gives them the opportunity of exhibitingat the NCCD.
This year’s show explores the theme of function in objects. A range of high quality, visually striking artworks created by 18 specially selected graduates are on display. They demonstrate a diverse range of skills from fashion and jewellery to ceramics and automata.
By Shamai Sam Gibsh & Stephanie Young
Published in Ceramics Now Magazine, Issue 2
A movie set, created in the style of a sixth century village, within forests and farmland, cherry blossom and azaleas, in valleys and mountains centrally located in South Korea, is the stage for this amazing Mungyeong Tea Bowl Festival. The City of Mungyeong and the South Korean government sponsor the festival, now in its eighth year, and focus on reviving Korean Tea ceremony traditions, as well as the ceramic ware made for it.
Ceramic artists (28) from all over the world were invited this year (2012) to participate in this festival, and to display their tea bowls and demonstrate their techniques, as well as to join local artists in various activities related to the traditional Tea Bowl ceremonies.
By Daniel Fleischmann
1. “Natural Great Piece” is an intricate, intimate, communal performance in the medium of clay. Like a dance or a concert, it is more overtly bound to time than most sculptural artwork, and it ends dissolved into the past.
2. Cybele Rowe and Lauren Ari make a large and detailed clay sculpture. It emerges from an improvisational score fed by their combined 60 years of art making experience. Passersby are invited to create self-portraits in clay to be incorporated into the artwork. Its surfaces become covered with these figures, which are painted with underglaze.
By Vasi Hîrdo
You have been working at the University of South Carolina’s McKissick Museum for over ten years. What are the main responsibilities and attributes of being the Chief Curator of Collections & Research?
As Chief Curator of Collections and Research, my responsibilities include overseeing the research and care for the permanent collections. The permanent collections include natural science collections (rocks, minerals, fossils, meteorites and shells) and material culture collections which include fine art, furniture, textiles (clothing, quilts, other domestic textiles, baskets, shoes, accessories), ceramics, glass, metal objects, political materials, silver and objects relating to the history of the University of South Carolina. I guide and implement the collecting activities of the museum in terms of new acquisitions and research, identify long-term care needs of the collections in terms of conservation and storage, and work with my colleagues on various exhibition projects. My research focus is on Southern pottery but I’m knowledgeable about traditional basket traditions of the South, South Carolina history and politics, and University history. In a mid-size institution like McKissick Museum, and particularly at a University, it is important to constantly learn about the various types of museum collections.
By James Romaine
Since its inception in 2005, the Zentrum für Keramik-Berlin has been an oasis of cultural exchange for ceramic artists in one of Europe’s principal artistic centers. Founded by Thomas Hirschler and Kaja Witt, the residency program provides a creative sanctuary in the midst of an exhilarating city where artists from around the world can create artwork stimulated by their surroundings and experiences. Developed after the couple spent time at the Archie Bray foundation in Helena, Montana, the Zentrum für Keramik-Berlin welcomes artists to a city that is, at once, standing in history and bursting into the future.
Our second newsletter will be sent in just one week!
It will feature interviews with ceramic artists Margrieta Jeltema, Carol Gouthro, Shane Porter, plus a new artist from The Netherlands. Photographer Jonathan Vanderweit from Denver, Colorado will also be interviewed for the newsletter.
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