Ceramic artists list
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exhibition

On the eve of a major retrospective at Tate Modern, Gerhard Richter talks about his life and work with Nicholas Serota, Director of Tate. / 11.10.2011

Gerhard Richter: Panorama, Tate Modern
6 October 2011  – 8 January 2012

Spanning nearly five decades, and coinciding with the artist’s 80th birthday, Gerhard Richter: Panorama is a major retrospective exhibition that groups together significant moments of his remarkable career.

Since the 1960s, Gerhard Richter has immersed himself in a rich and varied exploration of painting. Gerhard Richter: Panorama highlights the full extent of the artist’s work, which has encompassed a diverse range of techniques and ideas. It includes realist paintings based on photographs, colourful gestural abstractions such as the squeegee paintings, portraits, subtle landscapes and history paintings.

(Source: vasihirdo)

  • Baldwin / Guggisberg, Beyond Glass and 20th Century Venetian Glass - Exhibitions at Ariana Museum, Geneva

    Baldwin / Guggisberg, Beyond Glass exhibition - Musee Ariana, Geneva

    Baldwin / Guggisberg, Beyond Glass Exhibition - Ariana Museum, Geneva
    13 October 2011 - 25 March 2012

    The internationally-renowned master glassmakers, Philip Baldwin and Monica Guggisberg have the techniques of glass to develop a fascinating aesthetic of forms and colors sublimated by a mastered articulation of light. The Musee Ariana is devoting a major exhibition to this artistic duo that explires their recent as well as earlier work in order to acknowledge a highly personal poetic universe combining two visions of an inner world.

    20th Century Venetian Glass - a private Genevan collection
    13 October 2011 - 8 April 2012

    This Genevan collection brings together an ensemble of vases, bowls and dishes from the 1920s to the 1990s that illustrated the diversity and the quality of the Venetian glassmaking industry in the 20th century. The majority of the models presented were produces in their hundreds by the Murano glassblowers for companies such as Venini, Cappelin, Barovier, Martinuzzi, Seguso and Barbini. This multiplicity should not disguise the fact that all these pieces are unique.

    And a gift from the Friends of the Musée Ariana:
    an 18th century Nymphenburg porcelain rocaille pot-pouri vase

    Musée Ariana - Musée suisse de la céramique et du verre
    Avenue de la Paix 10
    CH-1202 Geneva, Switzerland
    Tel. +41(0)22 418 54 50
    Fax. +41(0)22 418 54 51

    ariana@ville-ge.ch
    www.ville-ge.ch/ariana

  • DisGRAZIE by Bertozzi & Casoni, FaMa Gallery, Verona

    DisGRAZIE exhibition by Bertozzi & Casoni, FaMa Gallery

    DisGRAZIE by Bertozzi & Casoni, FaMa Gallery, Verona
    1 October - 12 November 2011

    Opening: Friday 30 September, hours 18.00-21.00

    On 30th September 2011, from 6pm, FaMa Gallery in Verona holds the opening of the exhibition DisGRAZIE (DisGrace), an original exhibition project by Bertozzi & Casoni, who for the very first time will present a collection of new works investigating the relationship between art and nature and the expressive potential of matter in its multiple plastic and aesthetic meanings.
    Through an experimental and conceptual reading of ceramic, a practice which has marked the research of the artists since 1980, the exhibition has two main sections:
    The first consists of sods of earth containing different kinds of sedimentation, including waste and human and animal remains. These groups – where what we usually desire to remove has been buried -, are the humus prolifero from which sprout amazingly beautiful floral microcosms. The second section includes compressions of discarded waste recovered from the “rubbish dump” of the contemporary consumer society (tins, cans and scrap metal); from these heaps of waste emerge succulent plants, waterproof and robust enough to survive attack from the waste and to give it new vigour.

    For the DisGrazie project at the FaMa Gallery, Bertozzi & Casoni “forge” an evocative and surreal setting in order to reveal the contradictions and chaos of postmodern life, addressing the recurring theme of vanitas with a unique, exuberant exhibition. All with the help of ceramic, a material that is fragile yet everlasting, which the artists manipulate in hybrid and polymorphous expressive ways with the strong desire to promote osmosis between art and life and to immortalise the transience of existence.

    Notes on the artists:
    Bertozzi & Casoni is a general partnership founded in 1980 in Imola. For thirty years artists have devoted themselves exclusively to ceramic as a possibility for painted sculpture, but in the second half of the 1990s a more conceptual aspect emerged in their work which would stimulate, towards the year 2000, a great turning point: Bertozzi & Casoni abandon the use of majolica to favour the use of ceramic materials of industrial origin. In 2004 they are invited to exhibit at the Tate in Liverpool (A Secret History of Clay) and in 2005 at the XIV Quadriennale in Rome. In 2007 they exhibit at Cà Pesaro, International Gallery of Modern Art in Venice, in 2008 at the Sforza Castle in Milan, in 2009 at the Italian Pavilion of the Venice Biennale, in 2010 at AVA All Visual Arts in London (Vanitas. The transience of Earthly Pleasures), at the Sperone Westwater Gallery in New York (Interval), at the Sperone Gallery in Sent and at the Arnaldo Pomodoro Foundation in Milan (Italian sculpture in the 21st century). In 2011 they exhibit at the Musée des Beaux Arts in Ajaccio (Réflection sur la mort) and are once again invited to the Italian Pavilion of the Venice Biennale.

    FaMa Gallery
    Corso Cavour 25/27, 37121 Verona
    Tel. +39 045 8030985
    Fax +39 045 8011410
    info@famagallery.com
    www.famagallery.com

  • John Martin: APOCALYPSE exhibition, Opening 21 September at Tate Britain

    John Martin (1789–1854) was a key figure in the nineteenth-century art world, renowned for his dramatic scenes of apocalyptic destruction and biblical disaster. While he was hugely popular, he remained something of an outsider, scorned by the art critics of his time.

    Organised in partnership with the Laing, Newcastle, this major exhibition will be the first show dedicated to his paintings for over 30 years, and the largest display of his works seen in public since his death. Bringing together his most famous paintings from collections around the world, as well as previously unseen and newly-restored works, the exhibition will reassess this singular figure in art history, and reflect on the enduring influence of his apocalyptic art on painting, cinema and popular spectacle. The show will also examine how Martin’s populism fits into the story of British art, and how his work connects with the culture of today.

    Pre-book John Martin tickets at Tate Britain here.

    I’m Martin Myrone, the curator of the exhibition at Tate Britain, and I’ve been working on the show with the team here at Tate and our exhibition partners at the Laing Art Gallery, Newcastle and the Millennium Galleries, Sheffield for the last 2½ years on planning, researching, selecting and organising this exhibition. You may have seen the great version of the show which appeared at Newcastle and Sheffield earlier this year. The Tate show is even larger, with a total of over 120 works – major paintings, sketches and watercolours, and his mezzotints and engineering plans. This will be the biggest collection of his works ever seen, and a chance to reassess this fascinating and exciting nineteenth-century artist.

  • NURSE - A show of drawings and sculptures by Cynthia Lahti, PDX Contemporary Art

    NURSE - A show of drawings and sculptures by Cynthia Lahti, PDX Contemporary Art

    August 30, 2011 - October 1, 2011

    “My goal is to create works of art that resonate with honesty and reflect the beauty and chaos of the world. My art is influenced by human artifacts from ancient times to the present, as well as by my personal experiences and emotions. Like the varied objects I draw on for inspiration—from 1940s knitting catalogs and outsider art, to Native American cedar carvings and Degas’ sculptures of dancers—my artworks force an explanation of reality and compel viewers to connect to a larger human experience. I work in various media, including drawing, collage, and sculpture.

    Currently I am focusing on ceramic sculpture based on expressive images of the figure I find in a variety of source materials. There are so many figures out there in the world, wearing so many poses and costumes; I find those that resonate and interpret them in clay. Each sculpture expresses an intense inner psychological state, its surface effecting a fluctuating quality, part beautiful, part grotesque.” Cynthia Lahti

    Read the interview with Cynthia Lahti, Recognized artist - April 2011

    Cynthia Lahti’s profile on Ceramics Now Magazine - View her works

    PDX Contemporary Art

    Hours: Tuesday - Saturday, 11 AM - 6 PM
    Address: 925 NW Flanders, Portland, Oregon 97209
    Tel.: 503.222.0063
    Email: info@pdxcontemporaryart.com

  • » Overthrown: Clay Without Limits exhibition feature

    This month we’re making a special feature for the Overthrown: Clay Without Limits exhibition, which is on view June 11 through September 18, 2011 at the Denver Art Museum.

    It’s the first feature made by Ceramics Now Magazine, and includes images from the Overthrown exhibition and interviews with 10 of the exhibiting artists, plus with the curator of the exhibition. At the end of July, we will also send a special newsletter. Subscribe here to our monthly newsletter.

    NAVIGATION (HOW TO):

    About Overthrown - About the Overthrown feature on Ceramics Now Magazine
    /Overthrown - Images from the exhibition (in High Quality).
    /Overthrown_Interviews - Interviews with 10 of the exhibiting artists.
    /nameofthe_artist (ex: /Linda_Sormin) - Images with the works of the artist you’re looking for.

    Interviews (many will be published at the end of July):

    Gwen F. Chanzit - The curator of the exhibition.

  • Overthrown: John Roloff, The Sea Within the Land/Laramide, Landscape Projection, Seascape Structure 31

  • Overthrown: Jeanne Quinn, You Are The Palace, You Are The Forest, 2011. Porcelain, glaze, lustre, wire, electrical hardware, and paint. Photo by Jeff Wells

  • Overthrown: Works by Del Harrow

    - Wedgewood Black Hive/Hole, 2011. Slip-cast black porcelain.
    - Links, 2011. Earthenware, glaze, and platinum luster.
    - Copper Fade, 2011. Earthenware and glaze.
    (photo by Jeff Wells)

  • Overthrown: Works by John Roloff and Jeanne Quinn

  • Interview with Gwen F. Chanzit - Special feature for The Denver Art Museum, July 2011

    Interview with Gwen F. Chanzit, the curator of Overthrown: Clay Without Limits exhibition at The Denver Art Museum, July 2011

    This is the first interview we’ve made for the special Overthrown feature. The special feature for The Denver Art Museum covers more interviews with artists exhibiting at the Overthrown: Clay Without Limits, which is on view June 11 through September 18, 2011. Subscribe here to receive the special edition of our newsletter.

    Ceramics Now Magazine: How did you find the artists for Overthrown: Clay Without Limits exhibition? Was it hard or you already had their names in mind?

    Gwen F. Chanzit: I spent many months researching, talking with artists in the field, and visiting artists in their studios.  I also participated in symposia at the Victoria and Albert Museum in London and in Santa Fe, New Mexico, where I was introduced to the work of additional artists.

    From well over 100 file folders with research on the work of individual artists, I narrowed my selections by reviewing these regularly, moving the folders into piles that grew into “yes,”  “maybe,” and “no.”  I was particularly interested in showing the breadth of work that ceramic artists are accomplishing today.  Sometimes when I made a studio visit to see one artist, I discovered another artist or two.


    Ceramics Now Magazine: What are the criteria on which you selected the artists for this exhibition?

    Gwen F. Chanzit: I look for quality, inventiveness, and artists who are pushing the limits to develop new methodologies. 

    Working in all scales, from architecturally expansive to almost impossibly small, the artists in Overthrown employ twenty-first-century technology hand-in-hand with standard modeling and molding techniques. They use digital cameras, computers, laser cutters, 3-D printers, and computer-controlled mills along with more traditional tools. Some push the forms of functional objects. Others push the limits of fragility. They take risks that draw on material chemistry and maverick kiln techniques. Some of their works include not only clay, but also found objects such as metal, plastic, and abandoned industrial materials. Overthrowing our expectations of ceramic art —its size, its context, its methods, and its meaning—these artists show us new ways of using this versatile and timeless material.

    Ceramics Now Magazine: Did the exhibition space offered many obstacles? How did the artists adapt to the space?

    Gwen F. Chanzit: The exhibition space is a dynamic Daniel Libeskind design with angular walls and interesting spaces that are wonderful for exhibiting three-dimensional work. The soaring ceilings provide particularly good opportunities for large scale work. Each artist was encouraged to utilize these exciting spaces—which they did.

    Most of the works were made especially for this exhibition, and many are in direct dialogue with the site—they move beyond the pedestal to the wall, the floor, and even the ceiling. A few extend across the entire museum complex. They break boundaries that are physical, technological, conceptual, and spatial.

    Ceramics Now Magazine: On what principles do you guide on preparing an exhibition like this, with more than 20 artists participating?

    Gwen F. Chanzit: It’s important to show each artist’s work with integrity, to enable the work to have enough space to show itself well.  It was a particular goal for each work in this exhibition to be seen independently—-with the added bonus of long vistas across the gallery from work to work.


    Ceramics Now Magazine: Do you have any guidelines for the artists? How long ago did you contact and proposed them to exhibit at the Denver Art Museum?

    Gwen F. Chanzit: I encouraged each of the 25 artists to be very ambitious—not to be hindered by cost of materials or limitations of space.  Most artists had just over a year to prepare the work—a very short time in the world of these ceramic installations where challenges of materials and techniques had to be resolved.  In some cases, kilns had to be built..

    Ceramics Now Magazine:  Significant support was provided by different foundations and citizens. What is DAM’s relationship with foundations and donors?

    As most non-profits, the Denver Art Museum appreciates the significant support received by foundations and donors.

    Ceramics Now Magazine:  What part or what limits of this exhibition you find yourself connected to?

    I am connected to all parts of the exhibition.

    Ceramics Now Magazine: What expectations do you have from this exhibition?

    Gwen F. Chanzit: I very much hope this exhibition will overthrow some expectations of what ceramics might be.  It is a versatile and timeless material that is being used in new inventive ways in the 21st century.

    ——————————————————————-

    Gwen Chanzit is curator of modern and contemporary art and the Herbert Bayer Collection and Archive, Denver Art Museum. She has organized many DAM exhibitions including Bonnard, Matisse from the Baltimore Museum of Art, Martha Daniels Grotto, Vance Kirkland: The Late Paintings and Color as Field, as well as numerous exhibitions on Herbert Bayer. Her rotation in the modern and contemporary art galleries for Marvelous Mud is Focus: Earth and Fire.

    Among her many publications, Chanzit has authored two books on Herbert Bayer; contributed essays to DAM exhibition catalogs, RADAR: Selections from the Collection of Vicki and Kent Logan and The View From Denver; served as editor and authored essays for the 2009 exhibition catalog, Embrace!; and published an essay in the Austrian exhibition catalog, Ahoi, Herbert: Bayer und die moderne (2009). 

    For Marvelous Mud, Chanzit is curating Overthrown: Clay Without Limits, an exhibition in the Anschutz Gallery that features new work by 25 contemporary artists—most of whom work very large scale. She is also preparing a catalog and organizing a related symposium in September 2011.

    Chanzit is a frequent lecturer locally, nationally and internationally. She often serves as juror for art competitions and exhibitions and has been a guest curator at the Aspen Institute and the University of Denver. Chanzit holds a Ph.D. in art history and contributes to the future generation of museum professionals as director of the graduate program in museum studies at the University of Denver’s School of Art and Art History.

    Visit the Modern and Contemporary Art Collection's web page on the Denver Art Museum website.

      

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    → Read more interviews with ceramic artists and search through our featured artists.

    Interview by Vasi Hirdo - Editor of Ceramics Now Magazine

  • Le décor est planté… Ceramics in the spotlight, Bernardaud Foundation, Limoges

    Le decor est plante, Ceramics in the spotlight - Decorative ceramics exhibition, Bernardaud Foundation, Limoges

    Le décor est planté… Ceramics in the spotlight, Bernardaud Foundation, Limoges, France

    June 24 - October 24, 2011

    The Fondation Bernardaud presents an exhibition devoted to decorative art. American for the most part, several artists will be making their debut in France. Some have already earned an international reputation and many are creating works especially for the occasion. This exhibition presents artists who make use of ceramics to create decorative art. Today, all artists – and not just ceramic artists – are free to use ceramics to express their art. In very different registers, each artist offers a different take on decorative art. Some set out deliberately to subvert everyday objects, others exalt them in the purest trompe-l’oeil tradition. Some conduct a reflection focused on architectural or decorative aspects, others parody the canons of classical sculpture. The actors are ready and the stage is set – let the play begin!

    Laurent de Verneuil
    Curator

    Participating artists:

    Marc Alberghina, France
    Susan Beiner, USA
    Nathan Craven, USA
    Robert Dawson, UK
    Neil Forrest, Canada
    Leopold Foulem, Canada
    Trine Hovden, Norway
    Phillip Maberry, USA
    Paul Scott, UK
    Richard Shaw, USA
    Jesse Small, USA
    Tamsin van Essen, UK
    John Williams, USA

    Fondation d’entreprise Bernardaud
    27, avenue Albert Thomas
    87000 Limoges, France
    +33 (0)5 55 10 55 91
    www.bernardaud.fr/index.php?id=uk23

    From June, 24th to October, 24th 2011
    Everyday (including holidays) except sunday
    From 9.45 am to 11.15 am and from 1.30 pm to 4.15 pm

    In October, by appointments.
    Guided tour, including the summer exhibit
    Adults : 4,50€
    Group of 10 or more : 4€
    Free for children under 12
    Museum store: Monday to saturday, from 9:30 am to 6:00 pm

    Hélène Huret, Director +33 (0)1 43 12 52 06 | hhuret@bernardaud.fr
    Ségolène Dufresne, Press relations +33 (0)1 43 12 52 03 | sdufresne@bernardaud.fr

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