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

contemporary

Marianne McGrath: Thoughts on Long Drives (gallery shot), 2009, porcelain, earthenware, plywood, steel rod, plaster, dimensions variable

  • Marianne McGrath: Fenced (detail), 2011

  • Radu Comsa / Things as they are, SABOT, Cluj-Napoca

    Radu Comsa - Things as they are, SABOT, Cluj-Napoca

    Radu Comşa / Things as they are, SABOT, Cluj-Napoca, Romania
    20 January - 18 February 2012

    When Giorgio Vasari wrote the “Life of Artists”, the notion of the authorship was finally acknowledged in the field of visual art. It was being used for quite some time previously, but never before had it been so clearly defined.

    Since then, authorship has become more and more connected to branding and marketing, and the trend is going towards a point when they will have become indistinguishable. I don’t mean to demonize these concepts. Yet, we would be blind if we ignored the fact that nowadays artists are compelled to build their own brand, that above everything else they need to nest into a style, which is something familiar, repeated and recognizable. In other words, they have to brand themselves.

    The whole notion of the “death of the author” didn’t really damage this status quo. On the contrary, it added strength to the idea of authorship. The artists have thus survived their own artistic death. Still, it is clear that they have simultaneously turned themselves into products of the capitalist society, much like Coca-Cola or the one dollar bill.

    Everyday, Radu Comşa is fighting his way out of the aforementioned scenario. His work – or rather his modus operandi, his life style – is continuously contradicting the situation I just described. The fact that he has been working in the city of Cluj - with its cozy little coterie where everybody peeks at each other’s work - didn’t help much.

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  • Suzanne Stumpf: Nest with Eggs III, 2011, 10”w x 2.5”h, altered wheelthrown with handbuilt components; porcelain and porcelain paperclay; oxidation fired to cone 10

    Both nests and eggs hold important concepts for reflection and meditation for me. Eggs represent new beginnings, promise, mystery, and fragility. Nests signify “home,” with the intention of comfort and protection, and in the case of wildlife, camouflage. As an avid birdwatcher, amateur naturalist, and sculptor, I am intrigued by the variety of nests found in nature for both their architectural inspiration and symbolism. These three works are from a series of nest sculptures I am making.

  • Suzanne Stumpf: Changeable Views, 2007, 15.5”w x 6”h x 4.5” d (window structure), handbuilt porcelain; reduction fired to cone 10

    The interactive sculpture Changeable Views is a very modular work—the windows may be left open or up to four of the twelve tiles may be inserted to create many varied views. The tiles have colors on one side and patterns of black and white on the reverse. Although the tiles were lined up flat and adjacent to each other when a number of colored glazes were applied (so technically there is an “order” to the tiles), the tiles “dialogue” and create interest in any number of combinations.

    Metaphorically, windows offer the opportunities to look outward, inward, more deeply, and in new directions. The interactive play possible in this piece is intended as a meditation for its audience.

  • Suzanne Stumpf: Spike, 2008, 5.5”h x 8”w x 3” d, wheelthrown and altered porcelain with handbuilt components; black slip and shellac resist; oxidation fired to cone 10

    I am yet to meet a woman who does not smile knowingly or even laugh out loud when viewing “Spike.” “Für die Schönheit muß man leiden” — “For beauty, one must suffer.”

    The fashion industry only seduced me into wearing too-high heels for a short time in my life. It was a long time ago, yet I do have a strong physical memory of how my feet felt after walking an unplanned distance or standing longer than anticipated in them.

    “Spike” has innumerable permutations for viewing. When all of the black, orange, yellow, and white “pins” are removed, Spike is somewhat of a trompe l’oeil with the raised black dots disguising its holes. The pins at first glance seem to be playful pain indicators. Yet, because the pins are pointed on both ends, when we place them into Spike, can we feel also a wee bit of revenge?

  • Deborah Britt: Alien Vegetable I, 18” x 12”, Wheel-Thrown and Hand-Built with Slip Decoration, Wood-Fired Stoneware, Cone Ten, 2008

  • Kathy Pallie: The 4 Elements – Earth, Wind, Fire, Water, Earthenware, glazes, 18”H x 14” Diameter, 2011

  • Kathy Pallie: Brown, Round Clay Basket. Earthenware, glazes, 18”H x 20” Diameter, 2009

  • Kathy Pallie: Interwoven. Stoneware, glazes, 17”h x 21”L x 13”D, 2010

  • Kathy Pallie: Bamboo Triptych. Stoneware, glazes, 15”H x 28”L x 3”D, 2009

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