Tim Rowan: Untitled #128, 2012, Wood-fired native clay, 9x28x7 inches
Clara Garesio: Desired lands / Linee Contemporanee, Salerno, Italy
January 24 - February 15, 2014
"Giving a definition of the work by Clara Garesio is fortunately impossible, since it moves beyond stereotypes or fashions. Indulges in an impulse, driven by the need to communicate their feelings, here and now , it relies on the uncertainty of the fire, as in a trance track marks in a game of bold geometric shapes and colors of scanned drunkenness explosive , eagerly awaiting the result and awe , because – as the artist says - every piece is the battle between my mind and the material that I use , and sometimes losing is just as wonderful." And here are the vessels of the slender forms, architectures dream , the perforated tiles, plates, rounds, translucent balls, terracotta reliefs soaring, archetypal installations and tiles lit by red, blue, green and yellow in harmonious contrast where the size of plastic, combined with the dynamic coloring of enamel, resulting in the tale of cloistered life that you look at the world . The icon are eyes wide on eternity and the hands that reach out beyond time and space to touch the infinite. But the symbol, the recognizable signature of Garesio, is the mandala , the magic circle, the transience and rebirth , the destructive force that becomes a source of life." Erminia Pellecchia, 2013
Clara Garesio was born in Turin, Italy, in 1938. She started her artistic career in ceramics and decoration at the age of 10 at the famous Civica Scuola di Arte Ceramica in Turin, Italy. In 1955 she was admitted to the “Istituto Statale d’Arte per la Ceramica” in Faenza (Italy) where completed her studies in 1957. In 1956 she was awarded first prize in the “International ceramic competition of Faenza”, Faenza (Italy) and in 1957 she was appointed by the Faenza Institute of Ceramics to create the pottery collection commissioned by the Persian Court. In 1957 she started teaching ceramics at the l’Istituto Statale d’Arte di Isernia where she was Head of the Ceramics Department for eight years. In 1960 she won an award in the National Competition for Decoration of the Istituto Statale d’Arte di Castelli (Teramo, Italy) and In 1961 the Italian Ministry of Education appointed her as founding artist of the “Istituto Professionale di Stato per l’Industria e l’Artigianato della Porcellana Caselli” in Naples, where she taught Porcelain decoration and ornamental plastics for 10 years. Since 1981 she served as head of the ceramic department of public schools in Naples until retirement from teaching in 2000. Since 2001 she was appointed Professor Emeritus of the School of Fine Arts in Naples, Italy While Clara Garesio’s best known works are ceramic and porcelain, she has worked in a variety of materials and other media. In addition to commissions in ceramic and porcelain, she has worked in ceramic relief and tile murals, concrete, glass, fabricated metal and plastic sculptures and jewels, and design of colorful tapestries.
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.
Gareth Mason: More is more / Jason Jacques Gallery, New York
January 22 - February 22, 2014
Opening: Thursday, January 22, from 6-9 pm.
We are very excited to invite you to our newest exhibition with our first contemporary master ceramicist Gareth Mason. Following a show at the American Museum of Ceramic Art and an exhibition at the Korea Cultural Center in London. Gareth will be having his second solo exhibition at Jason Jacques Gallery. We are Publishing a 200 page catalog of Gareth’s work and the first publication of a series of letters between Gareth Mason and Ceramics collector Richard Jacobs which is a discourse of the nature of art and ceramics collecting. We are planning a series of lectures between Gareth Mason and his favorite Collector Richard Jacobs more information in the new year.
Gareth Mason new sculptural vessels are inspired by humanity’s connection to fire “Fire is humanity’s muse. Since the earliest humans pondered the nature of the sun, fire has captivated us with its mysterious force. Hominid fire — progenitor of dreams — spur to our noblest and most terrifying achievements, key to our aspirations and inextricable from the survival of our race, it burns literally and metaphorically in a place distinct from all other stimuli and matter. No wonder then that fire holds such creative potency for the human brain; as we gaze into its depths we ever behold a power of poetic and epic proportions. Of all the arts; silicate, ferric, kinetic, dramatic, sonic, plastic; of whatever place in the assumed hierarchy of creative genres, ceramics offers a unique spotlight on this most potent element. Through ceramics, it is possible to ‘fire’ the imagination and the spirit because ceramic metamorphosis is redolent of human experience. This belief underpins all my ceramic work. The igneous fusion of materials is analogous to human emotion. This is fertile ground for creative exploration and discovery.
Tim Rowan Ceramics: Untitled #1219, 2012, Wood-fired native clay, 8x7x7 inches
Tim Rowan: Untitled #122, 2012, Wood-fired native clay, 8x16x6 inches
Tim Rowan: Untitled #121, 2012, Wood-fired native clay, 12x15x12 inches
Tim Rowan: Untitled #1215, 2012, Wood-fired native clay, 8x9x8 inches