Elizabeth Shriver: Fossil Gourd, 2011, Ceramic, 18 x 9 x 9 in.
Elizabeth Shriver: Coral Swirl Vessel, 2010, Ceramic, 16 x 8 x 8 in.
The Third Annual Ceramics of America 2012: Exhibition and Art Fair at Fort Mason, San Francisco, California, USA
14-16 September, 2012
Opening Reception and Preview Party: September 13, 2012, 5:30 – 9 pm
Witness A Unique Experience: Ceramic Sculpture from Around the World
The Ceramics Annual of America (CAA) is an ambitious exhibition and art fair spotlighting the quality and diversity of contemporary ceramics from around the world including works from China, Korea, Mexico, Australia and Italy. It is the only event of its kind in the United States and the goal is to encourage the education and enrichment of the public, cultivate a fertile art market, and foster dialog between collectors and makers of ceramic sculpture.
Part of California’s continuing legacy of excellence and innovation in ceramics, the CAA is the largest exhibition and art fair that is entirely focused on ceramic art in America and is modeled after the Ceramic Biennials held in Europe, Korea, Japan and China. It provides a venue for the top regional and international artists from working in the clay medium to show their work to a broader audience of collectors.
The CAA is organized by the California Ceramics Cooperative, a group of invested regional ceramic artists, and will feature panel discussions, lectures, tours as well as daily interactive art demonstrations from 4-5 that will provide a greater understanding of the artistic process for students and educators alike. Schools located in the Bay Area will have free admission all day Friday and should contact the Ceramics Annual for Reservations. Featured artist and instructor Kevin Nierman, author of “The Kids ‘N’ Clay Ceramics Book,” will provide “Artistic childcare” on Saturday and Sunday from 11-3.
The exhibition will be held in the 50,000 square ft. Festival Hall at Ft. Mason, capable of accommodating as many as 10,000 people. A popular attraction for countless national and international visitors to the city, Ft. Mason still resonates with the presence of the California Funk movement of the sixties and seventies that inspired ceramic greats living in San Francisco today. Its close proximity to nature, unique architecture and nostalgic atmosphere contribute a breathtaking backdrop for an impressive array of Ceramic Sculptures.
Last years event was a huge success with over 7,000 people in attendance. The museum quality exhibition included educational lectures by curators such as Peter Selz and Phil Linhares and renowned artists such as Jim Melchert. “The size and scale of such an exhibition and the education opportunities, all under one roof, were extraordinary.” — Art Historian, Peter Selz.
Jason Hackett: Marrow, 2010, Ceramic, 14” x 9” x 6”
Patricia Sannit: Bottle: Infinity, 2009 , 22”x7”x4”, hand-built, carved and incised stoneware, slip and stain
Steve Belz: Emerging Tension, 2010, Low fire ceramic, slips, glazes, rubber cords and copper wires, 5H x 8W x 5D inches
Ruth Power: Breast (Cephalophilia), 2010, 33cm wide x 34cm long x 14cm deep; porcelain, LED light, cord, plug, wooden box with black paint and flocked interior
Ruth Power: Bound breast (Cephalophilia), 2011, 43cm wide x 37cm long x 14cm deep; porcelain, LED light, cord, plug, wooden box with black paint and flocked interior.
Generations: Betty Feves / Museum of Contemporary Craft, Portland, Oregon, USA
March 15 – July 28, 2012
First retrospective of work by important Northwest Artist
Curated by Namita Gupta Wiggers
The capstone exhibition of Museum of Contemporary Craft’s 75th Anniversary Year, Generations: Betty Feves is a comprehensive retrospective of work by this important Northwest Modernist ceramic artist. Opened in March 15, 2012, the exhibition includes work from every period of her 40-year career which began with studies under Clyfford Still and Alexander Archipenko, included studies in New York City during World War II, and later, decades in Pendleton, Oregon.
Feves was nationally engaged and regionally focused. She spoke at the first conference of the American Craftsmen’s Council (now the American Craft Council) at Asilomar, California in 1957 along with Peter Voulkos and Marguerite Wildenhain. At the same time she was deeply inspired by the Oregon landscape; rounded stone and basalt slab forms repeatedly found their way into her pieces. And Feves relentlessly experimented with materials and processes. She dug her own clays from locations like Oregon’s Dead Man’s Pass, sometimes mixing them with brick clay from LaGrande. And she created all of her own glazes from local sources such as grasses and the leaves of locust trees in her own backyard. “Decayed basalt, as she called it, became a routine ingredient in the clay mixture she used for sculpture, giving a texture and quality of color quite unlike any other,” says American raku pioneer Hal Reigger who collaborated with Feves beginning in the 1950s. “I believe one could look at just a small section of the surface of one of her things and know right off who made it.” With Reigger, Feves explored what they called primitive techniques including bonfire firings. Reigger was among those who praised Feves for her structural innovations in her large-scale Modernist sculptures.
Additionally, Feves was an important catalyst in her community, quietly mentoring and guiding scores of individual artists and musicians while she publicly advocated for the arts as a longtime member of the Pendleton School Board and while serving on the state’s Board of Higher Education. Feves helped to bring the Suzuki violin method to Oregon and to the Pendleton schools and gave private lessons to generations of young musicians. She took on a number of apprentices, but also reached out to younger artists like well-known Northwest painter James Lavadour, introducing him and his work to collectors and dealers. “Betty illustrated to me what an artist’s role is in a community, what an artist does,” Lavadour says. “An artist doesn’t just make art. An artist serves a community in many different ways.” Lavadour went on to found Crow’s Shadow Institute of the Arts in Pendleton.