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

painting

Betty Woodman: CONTRO VERSIES CONTRO VERSIA / Gallery Diet, Miami

Betty Woodman: CONTRO VERSIES CONTRO VERSIA exhibition Gallery Diet Miami

Betty Woodman: CONTRO VERSIES CONTRO VERSIA / Gallery Diet, Miami
an inaccurate history of painting and ceramics
December 2, 2013 - January 1, 2014

Gallery Diet is delighted to announce a solo exhibition of new works by Betty Woodman: CONTRO VERSIES CONTRO VERSIA an inaccurate history of painting and ceramics. The exhibition, which opens December 2nd, 2013, gathers a body of 2D and 3D works produced over the past two years that continue Woodman’s evolving relationship with painting, the vase, and the history of ceramics. Over the past several years, the resurgence in ceramics, craft aesthetic, and abstraction has led audiences to earlier generations of practitioners. Often credited as the “godmother of American ceramics,” Woodman is considered one of the pioneers in bringing the vase out of the craft world and into the realm of high art. As Peter Schjeldahl wrote of Woodman’s solo exhibition at The Metropolitan Museum of Art, “she is beyond original, all the way to sui generis. She has been well known in art circles since the 1970s, when her work was associated (incorrectly but advantageously, given the art world’s chronic disdain for anything that smacks of ‘craft’) with a briefly fashionable movement called Pattern and Decoration.” Since 1948, when she entered Alfred University’s ceramics program, Woodman has been pushing the boundaries of sculpture and form. This will be her second exhibition at Gallery Diet in Miami, Florida. Her work “Aztec Vase,” recently acquired by the Pérez Art Museum Miami, is also part of the inaugural permanent collections exhibition at the PAMM.

Born in 1930, Betty Woodman is an American artist living and working between New York City and Antella, Italy. Her work is represented by numerous galleries around the world including Gallery Diet, Salon 94, Francesca Pia, and Isabella Bortolozzi. Her works are part of prestigious public and private collections such as The Boston Museum of Fine Arts, Cooper-Hewitt National Design Museum, Denver Art Museum, Metropolitan Museum of Art, Los Angeles County Museum of Art, Museum of Modern Art New York, National Gallery of Art, and the Pérez Art Museum Miami. Most recently her large scale installation Alessandro’s Room was exhibited as part of Unlimited in Art Basel 2013.

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  • Anna Von Mertens - Portraits

    "Odd avenues of knowledge and inquiry interest me. I research further and uncover phenomena in isolated fields of study that mirror information about my own private world. I then translate this empirical data into a subjective version to reflect the parallels I see.

    I have tracked how energy is dispersed in a nuclear explosion and how energy is stored in a cell; exposed hidden topographies (of the human body, of the ocean floor); contrasted migration routes of birds to the migration routes of humans; and shown the stars exactly as seen above violent moments in American history.

    These patterns reveal to me aspects of our existence, whether it is how we experience time and face the infinite - embedded in that is our own mortality - or how the boundary of the body is presented to others versus how it is felt internally.

    I use the stitch to follow these trails, tracing the paths with my fingers. The dotted line of hand-stitching is a marker of uncertainty, a way of exploring. The time invested in making the work, allowing for contemplation and internalizing, becomes a part of how the work is viewed.

    I see all of these elements as a form of mapping, reflecting the need to get my own bearings in this vast universe.” Anna Von Mertens (via)

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  • James Hoff: I’m Already a Has-Been exhibition / VI, VII, Oslo
    August 31 — December 5, 2012

    For his first exhibition at VI, VII, American artist, writer and editor James Hoff presents two groups of paintings based around language, and abstraction as a culture-bound illness.

    One set of paintings tries to imagine a visual counterpart for syndromes that enter language through specific geographic contexts as the outcome of locally existing phenomena and paranoia—Nigerian ‘Brain Fag’ syndrome for example—formulating abstraction as a cultural malady that is linguistically spread.

    A second set of works is based on drawings found at stationary stores in cities like Oslo and New York, casually and communally scribbled onto notepads when customers were testing their pens.

    In these works, the scratch pad functions as a surrogate for abstraction illustrating the collective pathos of the community from which they were born. All of this, of course, goes back to Freud and can be traced through the Dadaist affinity with automatic writing and the very imperfect science of twentieth century gestalt theory which used mark-making as a way to determine cognitive skills, sanity and mental health.

    In preparing this exhibition, the artist chose to include new works not previously addressed in this press release. The works were composed by means of flocking the areas left exposed after a first-pass tearing away at the shrink wrap around pre-fabricated canvases, freezing with small colored fibers set into wet paint, the exact moment the canvas is about to be freed to be painted on. In this sense each of these partially flocked works is a still life, soft to the touch, that documents the innate and every everyday activity of unwrapping a package. (via Contemporary Art Daily)

    Images courtesy of VI, VII, Oslo. Photos by Jon Benjamin Tallerås.

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  • Liliana Folta exhibition / Amazing Things Art Center, Framingham, MA

    Liliana Folta exhibition, Amazing Things Art Center, Framingham

    Liliana Folta exhibition / Amazing Things Art Center, Framingham, MA
    September 27 - October 28, 2012

    Opening reception and Artist talk: October 4, 7-9 pm.

    Liliana Folta is a Latin American multidisciplinary artist. Born in Buenos Aires, Argentina, she lives and works in Boston, Massachusetts.

    "The potential ability of the imagination has an important impact in our lives. Minds have visual images that we collect through our lives.

    These inner-images that represent my works are examinations of my existence. However, in this bank of memories I cherish every possible emotion; happiness, growing pains, family loss, first love, motherhood, sexuality, multicultural experiences, frustration, society’s rules and most importantly the celebration of life.

    As an artist I like to work with different mediums especially acrylic paintings and ceramic sculptures. For the past few years I have been experimenting with mixed media installation. The freedom of expanding my work in another dimension makes me feel more connected with the viewers.

    The process of my work mostly is very spontaneous; the rest comes along with what my subconscious has been saving in my bank of memories, throughout my life and the happening of the moment.”

    Exhibition in collaboration with Mike Vickers (Light effects) and Gustavo Jiménez (Experimental sounds).
    Curator: Olga Shmuylovich.

    Liliana Fonta’s works are in several private and public collections in the United States, Puerto Rico, Argentina, Australia, Spain, Poland, Museum of Contemporary Ceramics - Dominican Republic, Ku Art Center - Beijing.

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  • Leslie David - Painting Please!

    Painting series on Please! Magazine, for the special birthday Issue that Leslie David art directed.

    Photos by Nagi Sakai for Please! Magazine - Issue 11. (via)

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  • CONCEPTION - Part Two / Canvas Galleries, Belfast

    CONCEPTION - Part Two at Canvas Galleries, Belfast with Patrick Colhoun and Darren MacPherson

    CONCEPTION - Part Two / Canvas Galleries, Belfast
    September 27 - October 11, 2012

    Opening Reception: Thursday, September 27, 6.30 - 9.00 pm.

    Following on from Conception Part One London in June, Darren MacPherson and Patrick Colhoun introduce the second part of a two part exhibition of work from two very different but complimentary artists. Two mediums, MacPherson’s vibrant, acid coloured figurative paintings alongside Colhoun’s dark, brooding, somewhat disturbing contemporary sculpture.

    Part one in June was London, MacPherson’s base; part two is Belfast, Colhoun’s hometown.

    Part one, described as ‘Art with balls’ by Cool on Demand Culture blog, showcased the work in a gritty industrial setting in South East London. The second venue will be a contemporary white cube gallery in Belfast, a city really starting to find its feet in the genre of contemporary art.

    Two artists, two cities, two cultures, two mediums.

    Darren MacPherson has a growing reputation as a contemporary figurative artist whose acrylic and spray paint works are bold and full of colour.

    His frequent use of high key colours can be jarring, even startling to a first-time viewer. The negative space in the composition used merely to emphasise the foreground; this is the part of his work that he spends most time on, adding layer upon layer of content. Darren’s colours bounce off the canvas and his chaotic, sometimes erratic, strokes make for abstract suggestions of the male and female form.

    Inclusion in prestigious events such as FLAGSTOP in Los Angeles, the inaugural Other Art Fair in London and the 2011 National Open Art Exhibition are cementing MacPherson as an artist with a growing reputation.

    Patrick Colhoun is a contemporary sculptor living and working in Belfast. His irreverent approach and ever darker subject matter make for work that is anything but traditional ceramics. His use of other materials such as latex, hosiery and piercings add to the mix.

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  • European Travellers: Art from Cluj Today / Kunsthalle, Budapest

    European Travellers: Art from Cluj Today / Kunsthalle (Műcsarnok), Budapest, Hungary

    European Travellers: Art from Cluj Today / Kunsthalle (Műcsarnok), Budapest, Hungary
    April 19 - July 01, 2012

    Cluj’s contemporary art has for years been the subject of special international attention. The term Cluj School in reference to new figurative painting – which appeared in the mid 2000s and has been the topic of debate ever since – and the Paintbrush Factory – which houses studios and independent cultural institutions – quickly became widely known in Europe. Of the Cluj artists, many have exhibited in such prestigious international venues as the Stedelijk Museum in Amsterdam, MoMA in New York, the Kunsthaus of Zurich, and the Neuer Berliner Kunstverein. Their works have been discussed in internationally significant publications and they have collaborated with distinguished galleries. The art institutions of Cluj have notable networks of international connections and continuously host prominent foreign experts.

    Artists:
    Marius Bercea, Zsolt Berszán, István Betuker, Mihuţ Boşcu, Răzvan Botiş, Mircea Cantor, Radu Comşa, Csaba Csiki, Duo van der Mixt, Oana Fărcaş, Adrian Ghenie, Simon Cantemir Hausi, Mihai Iepure Gorski, István László, Victor Man & Anna-Bella Papp, Szilárd Miklós, Dénes Miklósi, Alex Mirutziu, Nita Mocanu, Ciprian Mureşan, Cristian Opris, Cristi Pogacean, Victor Răcătău, Cristian Rusu, Şerban Savu, Leonardo Silaghi, Mircea Suciu, Péter Szabó, Sergiu Toma, Gabriela Vanga, Szabolcs Veres.

    Curator: Judit Angel

    The success story of Cluj is no overnight “miracle” however, as it is a continuously growing, multi-layered phenomenon. Its development and evolution have not only required exceptional artistic talent, inspiration and perhaps a bit of luck, but in the background, are also the result of mostly private initiatives, as well as an immense amount of work, an open attitude, persistence and conscious self-positioning on the part of independent art institutions.

    The Műcsarnok exhibition aims to offer an authentic representation of the “Cluj phenomenon.” As a special point of interest, in addition to the artworks, the show also familiarizes viewers with the most important institutions of the local art scene, which are of many different types. These include centres that house contemporary art exhibitions and accommodate theatrical and dance productions, studios that experiment with digital media, publishing projects, as well as community and activist platforms. The University of Art and Design Cluj, with its strong emphasis on building international connections, also makes its appearance. The more than thirty artists and seventeen art groups and institutions that are featured in the exhibition have been selected with a focus on the – internationally also significant – developments in Cluj within the past decade.

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  • Joe Caroff: The Liberated Line / The Painting Center, New York

    Joe Caroff: The Liberated Line exhibition at The Painting Center, New York

    Joe Caroff: The Liberated Line / The Painting Center, New York
    March 27 - April 21, 2012

    The Painting Center is pleased to announce the opening of The Liberated Line, an exhibition of recent work by Joe Caroff. He was attracted to the creative freedom possible in book jacket design, and worked with many publishers. His first jacket design was for Norman Mailer’s The Naked and The Dead. His first film poster was for West Side Story. In 1963, Joseph Caroff designed the iconic 007 logo for United Artists and launched a long and distinguished graphic design career. When he observed the widening grasp of the computer and its inevitable descent into homogeneity in graphic design, Caroff sold his commercial art studio and began to paint. In his current work, the spontaneity and control that describe his world, coupled with the urge to manipulate form away from surface eventually matured in works where the flow of linear gesture continues on in independent space. In this thrust to “escape the canvas” he has consistently sought three-dimensional expression that challenges the canvas without abandoning its critical relationship. In his Terni series of 1986, three abstract shapes were produced with overlapping wooden sheets extending beyond the canvas. In the Iconic Metaphor series of 1990, he created works on 30 x 30 inch hollow core wood panels using leather, heavy paper and wood to construct illusionistic figures.

    For the past 30 years he has devoted himself to painting with insight and originality in response to, and frequently in reaction to the fashion of various endeavors currently popular. His interest in perception - both his own and that of the audience to the juxtaposition of flatness and three- dimensionality, has been a major focus; most recently in the works currently exhibited at The Painting Center. These reflect his previous investigations yet are pushing his thoughts forward, sparking ideas that he seeks to pursue.

    Caroff’s color is either subdued or theatrical depending upon its support of his linear choreography. It is either in complete contrast to the ground, or echoes one or other of the colors behind it. In these paintings, the lyrical quality of the line expresses the joy of liberation, declaring itself free of the gravity of the canvas. In pulling the line away from the surface, and turning it into a three-dimensional entity, another critical linear element follows: shadows that link the line back to its source on the surface and provide a bridge between the two. These are not airbrushed shadows as can be seen in some James Harvard paintings. These shadows are real and are integral to the final composition.

    Caroff has never been complacent. He is always inventing. In August, he turned 90.

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  • 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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  • Martha Cashman, Miranda Daly & Angie Shanahan Exhibition - West Cork Arts Centre

    Martha Cashman, Miranda Daly and Angie Shanahan Exhibition - West Cork Arts Centre

    Martha Cashman, Miranda Daly & Angie Shanahan - A Different Dimension, West Cork Arts Centre
    26 November, 2011 - 14 January, 2012

    Martha Cashman, ceramic artist; Miranda Daly, film-maker and Angie Shanahan, painter present an exhibition exploring a narrative of the former Wolfe’s Bakery in Skibbereen, West Cork.

    The artists are interested in the transition from one state of being to another and in conveying a sense of past human activity and industrial output associated with this building.
    Wolfe’s Bakery is the site for the planned new building for West Cork Arts Centre.

    The artists will present a Talk in the Gallery on Thursday 12 January 2012 at 1.30pm, and Inma Pavon, dancer, will present a performance in response to the work in the gallery on: Saturday, 14 January at 3.00 pm.

    Project Description - Wolfe’s Bakery:

    "A disused industrial building in the centre of Skibbereen town - formerly Wolfe’s Bakery - destined for demolition. Due to be rebuilt as the new West Cork Art Centre."

    Miranda Daly, film maker and employee in the West Cork Art Centre approached Martha Cashman, ceramic artist and me Angie Shanahan, painter, with the initial concept.
    The concept; to encompass through three distinct disciplines within the arts, ceramics, film and painting a unique exhibition which will capture the essence and deliver the narrative of the former Wolfe’s Bakery.

    As artists, all three of us are interested in the archival documentation of transition from one state of being to another. This element of change is especially appealing when it contains an architectural and historical nuance conveying a sense of past human activity and industrial output.
    We believe the former Wolfe’s Bakery in the centre of Skibbereen town perfectly encapsulates these elements.
    Fundraising for the new West Cork Art Centre has become a dynamic force within the town and beyond and is an exciting prospect.
    Our aim is to create a similar dynamic force and form discursive interaction between us as artists and the people of the West Cork peninsula. A parallel symmetry between what was, and what will be.
    Through our proposed exhibition with catalogue, we would like to prepare a visual narrative of the life of this old Bakery before its demolition.
    Allied with the verbal expressions of interest we have received from people in the business community towards this project, we believe the participation of The Arts Council through the awarding of an essential grant will help us to prepare and present an exciting exhibition in the latter part of 2011.


    West Cork Arts Centre - North Street, Skibbereen, Co Cork, Ireland

    Phone: + 353 28 22090
    Fax: + 353 28 23237
    Email: info@westcorkartscentre.com

    Opening Hours: Monday - Saturday, 10.00 am - 5.00 pm

    WCAC acknowledges the financial support of the Arts Council in making this exhibition possible.

  • Wild Life - Winter Group Show, StolenSpace Gallery, London

    Wild Life - Winter Group Show, StolenSpace Gallery, London

    02.12.11 - 18.12.11

    Artists interpretation of the living world in Sculpture, Painting & Installation.

    The wild life of wildlife.
    A flower growing through the crack in the pavement, the ivy scaling the fascia of a building, camouflaging, cloaking, pulling it to the ground, the tree growing around a concrete pillar, engulfing it slowly, morphing year on year. The birds nest in the rafters of a roof, made up of twigs and plastic ties, the nested young being fed the preservative pumped, calorie powered garbage bin rewards. These are glimpses of wildlife interacting, adjusting, adapting to the environment  that we’ve created, over, around, on top of it, the once green meadow now a sea of steel work, glass and poured concrete, trees confined to their architect planned and perfectly aligned boxes.
    But our wild life, this wildlife is playing a slow game, a slow deathly dance between the static, lifeless concrete structures we’ve built and the unstoppable force of nature. Adapt or be adapted, adjust or be adjusted, remember me? I was here before you, I’ve always been here, you need me, I am life.
    Is mother nature reclaiming our temporary oasis or is it adapting to the obstacles that we’ve put in its way or are we now having to listen to the reminder that this place is not ours, we are simply borrowing it?

    Confirmed Artists:
    Josie Morway (Painter)
    Rose Sanderson (Painter)
    Jennifer Murphy (Collage)
    Kelly Allen - (Painter)
    D*Face (Mixed media)
    Dan Witz (Mixed media)
    Jake Wood Evans (Painter)
    Roxanne Jackson (Sculptor)
    Kelly McCallum (Sculptor)
    Jessica Joslin (Sculptor)
    Kai & Sunny (Mixed media)
    Katja Holtz (Painter)
    Renhui Zhao (Mixed Media)

    In wilderness I sense the miracle of life, and behind it our scientific accomplishments fade to trivia.
    How long can men thrive between walls of brick, walking on asphalt pavements, breathing the fumes of coal and of oil, growing, working, dying, with hardly a thought of wind, and sky, and fields of grain, seeing only machine-made beauty, the mineral-like quality of life.
    If I had to choose, I would rather have birds than airplanes.
    - Charles Lindbergh

    StolenSpace Gallery
    The Old Truman Brewery
    91 Brick Lane
    London E1 6QL
    +44 (0) 207 247 2684
    info@stolenspace.com

  • 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)

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