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David Shaner – (1934 – 2002) Artist's Statement – David
DAVID SHANER – (1934 – 2002) David Shaner is an icon in the field of American ceramic art. He was instrumental in establishing the Archie Bray Foundation as a major player in ceramics, and he continued to support the Bray after retiring as its Resident Director. His exquisitely formed vessels with their understated glazes are a reflection of the man himself, a man in harmony with his environment and at peace in himself. Shaner was also noted as a teacher, a collector, and a generous contributor to the world of ceramic art and the field of environmental protection; his gardens which he called his “spiritual work” included notable specialized collections. While David Shaner’s life was cut short by ALS, his legacy continues through the David and Ann Shaner Resident Studio Complex which opened in 2005 at the Archie Bray foundation. ARTIST’S STATEMENT – DAVID SHANER “Basically, I am doing what I want to do and have never done anything else. By competing only with myself, I am not in pursuit of the crowd. Following one’s work is a joy and a challenge. One learns to do what is in one’s soul – thus revealing the connections between life and art. Although over the years I have become deeply involved with my tools and materials, simplicity of form and process have been my greatest achievements. And while the pots have been saturated with optimism, this has not always been easy to achieve. It is with a certain resilience I carry the belief that as life is enriched, the work can answer a resounding YES!”1 1. -
JESSE RING: Sculpture
CV JESSE RING: sculpture EDUCATION -2013-2015 MFA in Ceramics, New York State College of Ceramics at Alfred University, Alfred, NY |AlfredCeramics.com -2002-2006 BFA in Ceramics with minor studies in Painting, Kansas City Art Institute, Kansas City, MO. | KCAI.edu SOLO EXHIBITIONS -2015 “Paper Moon”, Thesis Exhibition, Fosdick Nelson Gallery, Alfred University, Alfred, NY. (Curatorial Advisor Sharon McConnell) -2012 “Moonlight Mythstakes & Summerscape-isms” Carbondale Clay Center, Carbondale, CO. (Curated by K Cesark) -2011 “Enshrined” Springfield Pottery, Springfield, MO -2010 “Monuments Too” Gilloiz Theater Lobby, Springfield, MO “Collagescape” The Albatross, Springfield, MO. June 2010- Jan 2011 -2008 “Vagrant Opulence” Via Viva, Mural Opening, Carbondale, CO. SELECTED EXHIBITIONS -2017 “Confluence and Bifurcations” NCECA Exhibition, Oregon College of Art and Craft, Portland, OR. -2016 “Modern Makers” Bathgate, Cincinatti, OH. (Jurors:) “SOFA Chicago” University of Cincinatti Booth 220, Chicago, IL. “Inhale” Aotu Studio, Beijing, China. (Curator Jialin Yang) “Bang Bang” Open Gate Gallery, Caochangdi, Beijing, China “Planning the Improbable, Sketching the Impossible” Washington Street Arts Center, Invitational, Boston, MA (Curator Mitch Shiles) “Clay Landmarks” The Arabia Steamboat Museum, Invitational Site Specific Group Show, Kansas City, MO. (Curator Allison Newsome) -2015 “Art in Craft Media-2015” Burchfield Penny Museum, Buffalo, NY. (Juror Wayne Higby, Curator Scott Propeak) “ Midwest Life Vest” University of Nebraska Kearney, Kearny, NS. (Curator Amy Santoferarro) “History in the Making” Carbondale Clay Center, Carbondale, CO. (Curator Jill Oberman) “Variance” The Wurks Gallery, Providence, RI. -2013 “Sustain” Art House Delray, Delray Beach, FL. (Curators Jade Henderson and Chelsea Odum) “Resident Artist Show” Armory Art Center, West Palm Beach, FL. “Beyond the Brickyard” Archie Bray Foundation, Helena, MT. -
Curriculum Vitae Ezra Shales, Ph.D. [email protected] Professor
Curriculum Vitae Ezra Shales, Ph.D. [email protected] Professor, Massachusetts College of Art and Design Publications Books Holding Things Together (in process) Revised editions and introductions to David Pye, Nature and Art of Workmanship (1968) and Pye, Nature and Aesthetics of Design (1964) (Bloomsbury Press, 2018) The Shape of Craft (Reaktion Books, anticipated publication Winter 2017-2018) Made in Newark: Cultivating Industrial Arts and Civic Identity in the Progressive Era (Rutgers University Press, 2010) Peer-Reviewed Scholarly Publications “Craft” in Textile Terms: A Glossary, ed. Reineke, Röhl, Kapustka and Weddigen (Edition Immorde, Berlin, 2016), 53-56 “Throwing the Potter’s Wheel (and Women) Back into Modernism: Reconsidering Edith Heath, Karen Karnes, and Toshiko Takaezu as Canonical Figures” in Ceramics in America 2016 (Chipstone, 2017), 2-30 “Eva Zeisel Recontextualized, Again: Savoring Sentimental Historicism in Tomorrow’s Classic Today” Journal of Modern Craft vol. 8, no. 2 (November 2015): 155-166 “The Politics of ‘Ordinary Manufacture’ and the Perils of Self-Serve Craft,” Nation Building: Craft and Contemporary American Culture (Smithsonian American Art Museum, 2015), 204-221 “Mass Production as an Academic Imaginary,” Journal of Modern Craft vol. 6, no. 3 (November 2013): 267-274 “A ‘Little Journey’ to Empathize with (and Complicate) the Factory,” Design & Culture vol. 4, no. 2 (Summer 2012): 215-220 “Decadent Plumbers Porcelain: Craft and Modernity in Ceramic Sanitary Ware,” Kunst Og Kultur (Norwegian Journal of Art and Culture) vol. 94, no. 3 (Fall 2011): 218-229 “Corporate Craft: Constructing the Empire State Building,” Journal of Modern Craft vol. 4, no. 2 (July 2011): 119-145 “Toying with Design Reform: Henry Cole and Instructive Play for Children,” Journal of Design History vol. -
The Factory of Visual
ì I PICTURE THE MOST COMPREHENSIVE LINE OF PRODUCTS AND SERVICES "bey FOR THE JEWELRY CRAFTS Carrying IN THE UNITED STATES A Torch For You AND YOU HAVE A GOOD PICTURE OF It's the "Little Torch", featuring the new controllable, méf » SINCE 1923 needle point flame. The Little Torch is a preci- sion engineered, highly versatile instrument capa- devest inc. * ble of doing seemingly impossible tasks with ease. This accurate performer welds an unlimited range of materials (from less than .001" copper to 16 gauge steel, to plastics and ceramics and glass) with incomparable precision. It solders (hard or soft) with amazing versatility, maneuvering easily in the tightest places. The Little Torch brazes even the tiniest components with unsurpassed accuracy, making it ideal for pre- cision bonding of high temp, alloys. It heats any mate- rial to extraordinary temperatures (up to 6300° F.*) and offers an unlimited array of flame settings and sizes. And the Little Torch is safe to use. It's the big answer to any small job. As specialists in the soldering field, Abbey Materials also carries a full line of the most popular hard and soft solders and fluxes. Available to the consumer at manufacturers' low prices. Like we said, Abbey's carrying a torch for you. Little Torch in HANDY KIT - —STARTER SET—$59.95 7 « '.JBv STARTER SET WITH Swest, Inc. (Formerly Southwest Smelting & Refining REGULATORS—$149.95 " | jfc, Co., Inc.) is a major supplier to the jewelry and jewelry PRECISION REGULATORS: crafts fields of tools, supplies and equipment for casting, OXYGEN — $49.50 ^J¡¡r »Br GAS — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and engraving. -
2020 Impact Report
20 20 IMPACT REPORT Demond Melancon, Big Chief of the Young Seminole Hunters – 2020 COVID-19 Relief Grant Recipient, New Orleans, Louisiana, Photo courtesy of Christopher Porché West OUR MISSION A Letter from CERF+ Plan + Pivot + Partner CERF+’s mission is to serve artists who work in craft disciplines by providing a safety In the first two decades of the 21st century,CERF+ ’s safety net of services gradually net to support strong and sustainable careers. CERF+’s core services are education expanded to better meet artists’ needs in response to a series of unprecedented natural programs, resources on readiness, response and recovery, advocacy, network building, disasters. The tragic events of this past year — the pandemic, another spate of catastrophic and emergency relief assistance. natural disasters, as well as the societal emergency of racial injustice — have thrust us into a new era in which we have had to rethink our work. Paramount in this moment has been BOARD OF DIRECTORS expanding our definition of “emergency” and how we respond to artists in crises. Tanya Aguiñiga Don Friedlich Reed McMillan, Past Chair While we were able to sustain our longstanding relief services, we also faced new realities, which required different actions. Drawing from the lessons we learned from administering Jono Anzalone, Vice Chair John Haworth* Perry Price, Treasurer aid programs during and after major emergencies in the previous two decades, we knew Malene Barnett Cinda Holt, Chair Paul Sacaridiz that our efforts would entail both a sprint and a marathon, requiring us to plan, pivot, Barry Bergey Ande Maricich* Jaime Suárez and partner. -
Bay-Area-Clay-Exhibi
A Legacy of Social Consciousness Bay Area Clay Arts Benicia 991 Tyler Street, Suite 114 Benicia, CA 94510 Gallery Hours: Wednesday-Sunday, 12-5 pm 707.747.0131 artsbenicia.org October 14 - November 19, 2017 Bay Area Clay A Legacy of Social Consciousness Funding for Bay Area Clay - a Legacy of Social Consciousness is supported in part by an award from the National Endowment for the Arts, a federal agency. A Legacy of Social Consciousness I want to thank every artist in this exhibition for their help and support, and for the powerful art that they create and share with the world. I am most grateful to Richard Notkin for sharing his personal narrative and philosophical insight on the history of Clay and Social Consciousness. –Lisa Reinertson Thank you to the individual artists and to these organizations for the loan of artwork for this exhibition: The Artists’ Legacy Foundation/Licensed by VAGA, NY for the loan of Viola Frey’s work Dolby Chadwick Gallery and the Estate of Stephen De Staebler The Estate of Robert Arneson and Sandra Shannonhouse The exhibition and catalog for Bay Area Clay – A Legacy of Social Consciousness were created and produced by the following: Lisa Reinertson, Curator Arts Benicia Staff: Celeste Smeland, Executive Director Mary Shaw, Exhibitions and Programs Manager Peg Jackson, Administrative Coordinator and Graphics Designer Jean Purnell, Development Associate We are deeply grateful to the following individuals and organizations for their support of this exhibition. National Endowment for the Arts, a federal agency, -
What Do You Do with 314 Pots? by Joan Lincoln
Teapot, 7 inches in height, slab-built Celadon-glazed teapot, 111/4 inches Glazed porcelain teapot, 9 inches porcelain with black terra sigillata, in height, wheel-thrown and carved in height, with handmade handle, purchased for $2600, by Edward Eberle. porcelain, $105, by Molly Cowgill. $50, by Ruth Scharf. What Do You Do with 314 Pots? by Joan Lincoln never intended to collect contempo opinions, current trends, inflated cost few people realized the potential value /, rary American ceramics. My first pur or overwhelming size. If a work cannot of a Toshiko Takaezu container; a chase, a small, red clay, matt-green- speak for itself in the rich company of shop/gallery/fair cannot afford to stay glazed bowl by Gertrud and Otto fine craft, no amount of pretentious in business on speculation. Friends Natzler, caught my eye at the New York jargon-hype will make it valid or hon also gave me ceramic objects, knowing City American Crafts Gallery. I could est. Obfuscation covers inadequacy. I had been mucking around in clay not leave without it. Now, my collec Rule three requires that the object forever (kindergarten through grad tion ranges from Laura Andreson to do well that which it was designed to school). Sometimes these gifts were Marguerite Wildenhain, from low-fire do. The mind likes a justification for quite remarkable (a 23-inch Rook- earthenware to high-fire porcelain, from the eye’s delight; e.g., my Molly Cowgill wood lamp base, probably by Shiraya- functional to purely decorative. I can celadon-glazed carved porcelain teapot madani). I also traded/bought from now read most pots easily for technique pours well, holds the heat and adds fellow M.F.A. -
Ceramics Monthly Nov83 Cei11
William C. Hunt ........................................ Editor Barbara Tipton ...................... Associate Editor Robert L. Creager ........................ Art Director Ruth C. Butler.............................. Copy Editor Valentina Rojo....................... Editorial Assistant Mary Rushley.............. Circulation Manager Connie Belcher ... Advertising Manager Spencer L. Davis.................................. Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard, Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North west Blvd., Columbus, Ohio 43212. Second class postage paid at Columbus, Ohio. Subscription Rates:One year SI 6, two years $30, three years $40. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art are welcome and will be considered for publication. A booklet describing procedures for the preparation and submission of a man uscript is available upon request. Send man uscripts and correspondence about them to The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index. A 20-year subject index (1953-1972) covering Ceramics Monthly feature articles, Sugges tions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s arti cles are indexed in the December issue. -
Gather Newsletter.Indd
Spring/Summer 2006 “Glass of the Maharajahs” the opens May 19 Heineman Family Donates Contemporary Glass Collection Rare Colored Cut Glass in Gather “Splitting the Rainbow” C o r n i n g M u s e u m o f G l a s s DIRECTOR’S LETTER Museum News One of the pleasures of working at The Corning Museum of Glass is the fact that the Museum never stands still. We are ambitious, and Corning Incorporated and our other supporters allow us— within reason—to turn many of our dreams into reality. Online Database Details Glass Exhibitions Worldwide New Museum Publication and Video Available Contemporary glass is a vital part of our collection and exhibitions. A new online database, compiled and maintained by the Rakow We were thrilled, therefore, at the beginning of the year, to receive Research Library, offers web users the ability to search for past, A new publication from The the largest gift of contemporary glass in the Museum’s history. present and upcoming temporary glass exhibitions around the Corning Museum of Glass Photo by Frank J. Borkowski. world. The Worldwide Glass Exhibition Database can be found at explores the past 25 years of www.cmog.org/exhibitionsdatabase. contemporary glass, and a new Ben Heineman Sr. and his wife Natalie have spent more than 20 years building video produced by The Studio one of the most distinguished private collections of contemporary glass, and have “The Rakow’s mission is to collect, maintain and provide public introduces glass students to the collected with a consummate sense of what is best among the countless works access to all glass-related resources," says Diane Dolbashian, art of flameworking. -
Asheville Art Museum, Item-Level Assessment of Works on Paper
DIVISION OF PRESERVATION AND ACCESS Narrative Section of a Successful Application The attached document contains the grant narrative of a previously funded grant application. It is not intended to serve as a model, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects its unique project and aspirations. Prospective applicants should consult the NEH Division of Preservation and Access application guidelines at http://www.neh.gov/divisions/preservation for instructions. Applicants are also strongly encouraged to consult with the NEH Division of Preservation and Access staff well before a grant deadline. Note: The attachment only contains the grant narrative, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Asheville Art Museum Works on Paper Assessment Institution: Asheville Art Museum Project Director: Carolyn Grosch (May 2017 to January 2018); Thomas Schram (January 2018 to June 2019) Grant Program: Preservation Assistance Grants for Smaller Institutions NARRATIVE NEH Preservation Assistance Grant for Smaller Organizations A. What activities would the grant support? The Asheville Art Museum requests $6,000 to support a conservation assessment of approximately 100 selected works on paper from its Permanent Collection. Funding will specifically support bringing paper conservator Kesha Talbert from ECS Conservation (located near Greensboro, NC) to the Museum to record the condition of these works and help train the Museum’s curatorial staff on best practices for the storage of works on paper. -
Ceramics Monthly Mar05 Cei03
www.ceramicsmonthly.org Editorial [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 editor Sherman Hall assistant editor Ren£e Fairchild assistant editor Jennifer Poellot publisher Rich Guerrein Advertising/Classifieds [email protected] (614) 794-5809 fax: (614) 891-8960 [email protected] (614) 794-5866 advertising manager Steve Hecker advertising services Debbie Plummer Subscriptions/Circulation customer service: (614) 794-5890 [email protected] marketing manager Susan Enderle Design/Production design Paula John graphics David Houghton Editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA Editorial Advisory Board Linda Arbuckle Dick Lehman Don Pilcher Bernie Pucker Tom Turner Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The Ameri can Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add 7% GST (registration number R123994618). back issues: When available, back issues are $6 each, plus $3 shipping/ handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4-6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation De partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org. -
Clayton Bailey (1939 - )
CLAYTON BAILEY (1939 - ) Clayton Bailey‟s incredible universe defies description. One of the University of California-Davis Funk artists, Bailey uses ceramics, metals, and mixed media to create sculptures that give life to the fantasies going on in his head. His amazingly crafted pieces have been described by others, and indeed by himself, as “Nut Art” or “Crock Art” - they move, they make noises, and above all they refuse to take themselves or the world seriously. ARTIST’S STATEMENT – CLAYTON BAILEY “I like the „magic‟ of converting mud into stone.”1 1. Quoted in: Susan Peterson. The Craft and Art of Clay. Englewood Cliffs, N. J.: Prentice Hall, 1992. RESUME – CLAYTON BAILEY 1939 Born, Antigo, WI 1957-1961 University of Wisconsin, Madison, WI, B.S. Art Education 1958 Married Betty 1961-1962 University of Wisconsin, Madison, WI, M.S., Art and Art Education 1962 Toledo Museum of Art glassblowing seminars Paoli Clay Company Instructor, People‟s Art Center, St. Louis, MO Instructor, Ceramic Sculpture, School of Architecture, Washington University, St. Louis, MO 1963 Instructor, University of Iowa, summer session Louis Comfort Tiffany Grant American Crafts Council Research Grant 1963-1967 Professor of Art, Wisconsin State University, Whitewater, WI 1967 Professor of Art, University of South Dakota Interim Professor, University of California-Davis, Davis, CA 1968-1996 Professor of Art, California State University, Hayward, CA (Chairman of the Art Department 1984-1987) 1979 National Endowment for the Arts Craftsmen‟s Fellowship 1982 Honorary Fellowship Award for Contributions to Education in the Ceramic Arts, NCECA 1990 National Endowment for the Arts Grant 1996-Present Professor Emeritus of Ceramics, California State University, Hayward, CA Studio Artist, Port Costa, CA BIOGRAPHY – CLAYTON BAILEY Although primarily identified with the Bay Area, Clayton Bailey was born in Antigo, WI, and grew up in the Midwest.