Copyright Greenwich House Pottery

CERAMICS NOW

JANE HARTSOOK GALLERY’S 2015 EXHIBITION SERIES

EXHIBITIONS LEE SOMERS, JANUARY 16 – FEBRUARY 13, 2015 POTTERY GHADA AMER, TRISHA BAGA, ROBIN CAMERON, JOANNE GREENBAUM, PAM LINS, ALICE MACKLER, DAVID SALLE, FEBRUARY 27 – MARCH 27, 2015 HOUSE JEREMY HATCH, APRIL 10 – MAY 8, 2015

ANDREA CLARK, JULY 9 – AUGUST 7, 2015

EUN-HA PAEK, OCTOBER 9 – NOVEMBER 6, 2015 NAOMI CLEARYGREENWICH AND PERRY HAAS, NOVEMBER 21 – DECEMBER 18, 2015

JANE HARTSOOK GALLERY AT GREENWICH HOUSE POTTERY CERAMICS NOW 2015 ADAM WELCH

Greenwich House Pottery has held ceramics exhibitions nearly as long as its doors have been open, though it was not until 1970 that Jane Hartsook (Director, 1945-1982) created a permanent exhibition space on the second floor of the Pottery. Before the development of a dedicated space, exhibitions took place throughout the building, the garden and even off-site in storefronts and a branch of the New York City Public Library. Upon her retirement in 1982, the room was renamed the Jane Hartsook Gallery in her honor. In 2013, the Gallery was relocated to street level and continues Jane Hartsook’s legacy, leading the field in presenting the most important ceramics exhibitions in New York City. This catalog, “Ceramics Now”, was published in conjunction with the “Ceramics Now 2015” exhibition series held at Greenwich House Pottery’s Jane Hartsook Gallery from January 2015 – December 2015. The Jane Hartsook Gallery broadens the ceramics sphere in our community, the field, and the artworld with an Funding for this exhibition series was made possible by public funds from the New York City Department of Cultural Affairs in POTTERY emphasis on promoting emerging and underrepresented artists. This year is no exception as we continue to lead partnership with the City Council, The Allan Buitekant Fund for Ceramic Art & Inquiry, The Hompe Foundation, the Milton and Sally Avery Arts Foundation, New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York the way, showcasing the possibilities and versatility of clay. We are fortunate to be able to offer many artists their State Legislature, and with the support from our parent organization, Greenwich House, Inc. New York City exhibition debuts. The 2015 “Ceramics Now” series included a broad curation of art practice and exceptional ability from across the United States, featuring solo exhibitions by Lee Somers (Alabama), Andrea Clark (Kentucky), Jeremy Hatch (Montana), Eun-Ha Paek (New York City), a two-person exhibition featuring Naomi Cleary (Pennsylvania) and Perry Haas (Montana), as well as a group exhibition featuring Ghada Amer, Trisha Baga, Robin Cameron, Joanne Greenbaum, Pam Lins, Alice Mackler and David Salle (New York City).

The pretense underHOUSE which I curated this year’s exhibitions for “Ceramics Now” has endured since developing the series in 2011, “What is Ceramics Now?” Though striving to attain some appreciable differences between one year and the next may seem to put an unnecessarily heavy emphasis and burden on newness, change does happen, both spontaneously and gradually. As noted in last year’s catalogue essay, there is a groundswell of interest in ceramics within the artworld, and though this might seem like one of those “aha” moments, it has truly been percolating for some time. With that in mind, I set out to determine what practice or set of practices best encapsulate the activity taking place within the field today. Which artist(s) working in clay exude contemporary ceramicness? Though I do not claim that these artists and their work somehow out perform all others, I would argue that these particular artists represent something unique and original that speaks to the present. The line-up Greenwich House Pottery includes a variety of approaches, materials and processes: bricolage, casting, installation, performance, anime, Jane Hartsook Gallery narrative, sculpture, decals, spray foam, paint, priority mail shipping boxes, resin, electricity, porcelain, terra cotta, 16 Jones Street Scandinavian roof tiles, pottery, video and wood fire. New York, New York 10014 T 212-242-4106 www.greenwichhousepottery.org “Ceramics Now 2015” kicked-off with Lee Somers, an Alabama-based artist whose layered bricolage of brilliant [email protected] GREENWICHshards recall Chinese landscape painting. The ancient scroll paintings from which Somers draws inspiration were Director: Adam Welch created by “cultured” men seeking escape from the lifeworld to commune with nature. This pattern is present in the Assistant Director: Lisa Chicoyne American psyche and can be readily discerned through cinema (Dances with Wolves), literature (Thoreau), and the Fabrication & Studio Manager: Adam Knoche Gallery Preparator: Brad Parsons visual arts (Beuys). There is no shortage of images and examples of our attempts to return to the land and detach Development Director: Andrea Newman ourselves from societal oppression. This idea of withdrawing to nature has been a recurring theme for centuries and Grants Writer: Lois Bernstein becomes even more urgent as our society seeks to restore balance. Though much philosophizing takes place around Photography: Alan Wiener Catalog Production & Design: Grenfell Press & Leslie Miller ceramics and its general ethos of a return to nature, few artists manage it with such an elegant basis in art history. It Catalog Essay: “Ceramics Now” by Adam Welch is the contemporary equivalent of Albert Bierstadt’s sublimely naturalist paintings, thinly veiled propaganda inciting adventurers to go West. Unlike anything else being created in the field, Somers’ assemblages are narratives that PRINTED IN CHINA “compress geologic time.” One gets the sense that he is collapsing the entirety of human civilization into a single breathtaking moment. Similar to the scroll paintings that Somers’ references, these works exude the sublime. ©Greenwich House Pottery, 2016 COPYRIGHT 3 The group exhibition of Ghada Amer, Trisha Baga, Robin Cameron, Joanne Greenbaum, Pam Lins, Alice Mackler Paek offers few clues as to whether these stories are autobiographical, or even of this universe. Ultimately, Paek and David Salle was a real game changer. These artists highlight the artworld having found expression in clay, does not need to offer any explanation; they are worlds unto themselves. encapsulating the mood of the contemporary scene. All of these artists have worked out of the studios at Greenwich House Pottery through classes, a clandestine ceramics club or our residency program. Though the Pottery may be The work of Naomi Cleary and Perry Haas highlights the eclecticism prevalent within the field of contemporary the common thread weaving these artists together, there is a commonality in their expressive approach to material ceramics. Their respective approaches to the material, both in making, glazing (or not) and firing could not be manipulation and profound intrigue with color. Figuration, abstraction, neo-expressionism and the postmodern more diverse. Cleary favors the industrial process of mold making and casting to create replicas of existing objects, are all represented in this exhibition. Each artist approaches the material with similar motivation - to exploit clay’s repeating form time and again. Expression emerges as she illustrates and layers the surfaces, culminating in both potential and bend the material to their will. Salle investigates and documents the physicality of the material, colorful abstract patterns and recognizable imagery. Her drawings unfold on the interior and exterior of the pushing, pulling, pinching and tearing at the forms, while Mackler utilizes the material to express her inner porcelain forms. Haas creates one-off forms on the potter’s wheel with each piece appropriating the subtleties impulses. The pure abstractions of Greenbaum occupy a middle ground - not quite representative, though not of its production. He uses the wood firing method which allows flame, ash and time to uniquely modify the completely groundless. Baga and Lins recreate actual objects, or in Baga’s case, people. Their approach to the ceramic surface. While Haas has proven himself to be knowledgeablePOTTERY regarding the firing process, there is still a material expresses a real joy in exploration and creation. Cameron, whose work vacillates between the figure and fair amount of uncertainty at play as each piece evolves in the kiln. Haas embraces the materiality of clay, pushing the vessel, recycles the old to breathe life into the new. Amer’s works are representations of the female form and prodding it. His control is balanced with acceptance of clay’s forceful character. Their works are each other’s made with vivid porcelain coloration. Regardless of the artist, color is a central theme in their work, coupled with counterpoint, offering two sides to a complicated and delicate conversation. an unbounded enthusiasm for material potential. The artists are joined together through their communion with material. No single artist forces the material to disassociate with its existential character. Clay is clay, and they allow “Ceramics Now” captures the spectacular moment we are experiencing within the grand ceramic narrative. The it to exist alongside their creation. field is embracing its own relevance and GHP is at the forefront, highlighting our gallery’s mission to exhibit a diverse body of work while supporting emerging artists. This group was curated based on their individual Jeremy Hatch, a Montana-based artist, has done the unimaginable – slip cast a chain-link fence. In the large-scale capacities, which are far-ranging and varied, as well as their contemporaneity. For Lee Somers, Jeremy Hatch, installation, Hatch had reimagined the space into a virtuosic porcelain performance, recreating the “love-lock” Andrea Clark andHOUSE Eun-Ha Paek, this exhibition also marked their New York City solo exhibition debuts. craze. This practice involves inscribing a couple’s names or initials on a padlock, affixing it to a bridge, and throwing the key into the body of water below – much to the consternation of city officials across the globe. Hatch’s fence, Greenwich House Pottery’s unique history encompasses the evolution of American ceramics - from humble weighted down with locks, bisected the gallery and went a step further to implicate the viewer in the performance. beginnings offering simple clay-modeling classes, becoming a small craft program in a Greenwich Village settlement During the exhibition, visitors were invited to cast their own lock and add it to the lot. This activity replicated house with the objective to promote social welfare, through its transformation into a hub of the post-war studio the trend which has become a worldwide sensation over the last decade. Arguably a bizarre custom employed crafts movement. Today, we conduct a myriad of classes, workshops, lectures and exhibitions, serving hundreds to declare ones love to another, the love-lock phenomenon has evolved into something quite different through of students and thousands of visitors each year. This year’s “Ceramics Now” exhibition series not only honors our Hatch’s art. While retaining the significance of the performance, the participants were able to go beyond the act legacy and demonstrates the breadth of ceramics to our community, but it reaffirms that GHP is New York City’s of defacing public property; they became part of a happening, facilitating the process of creation, not destruction. premier center for ceramics.

Andrea Clark was this year’s resident artist. Originally from Kentucky, Andrea was selected by a three person Adam Welch is the Director of Greenwich House Pottery and Lecturer at Princeton University. panel to participate in Greenwich House Pottery’s ten month resident artist program. During her residency, Clark continued her investigation into thin porcelain, finding inspiration to challenge the capacity of color. She conducted numerous material and color experiments which created a laboratory like environment in the studio. This exhibition showcased her relationship with the genre and the work she produced duringGREENWICH her time here, as well as highlighting ACKNOWLEDGMENTS her delicate, varied ceramic experimentations in form, color, texture and light. Over her tenure at GHP, Clark Greenwich House Pottery would like to extend deep appreciation to its members and the exhibiting artists. We are sourced materials and experimented with scale, surface and technique to create some truly unexpected pieces. grateful for the support from public funds from the New York City Department of Cultural Affairs in partnership The results are both mystifying and dazzling. Clark’s work allows a brief glimpse into the artist’s private thoughts. with the City Council, the Hompe Foundation, the Allan Buitekant Fund for Ceramic Art & Inquiry, the Milton and Sally Avery Arts Foundation, the New York State Council on the Arts with the support of Governor Andrew New York City artist Eun-Ha Paek harnesses humor by juxtaposing the familiar with the bizarre. Her works have a Cuomo and the New York State Legislature and from our parent organization, Greenwich House, Inc. Additionally, startling playfulness in spite of their preciousness. She is a visionary artist whose intimate sculptures elicit a sense we extend a heartfelt thanks to the galleries who loaned us work and who helped with organizing the group of the uncanny, and are primarily inspired by Japanese anime, known for fantastical themes and characters - which exhibition: Cheim Read, Green Naftali, Room East, Rachel Uffner, Kerry Schuss and Skarstedt Gallery. Finally, a are also Paek’s greatest assets. Similarly confounding are the narratives that her creatures, which she calls poodles, special thanks to Brad Parsons, whose keen eye and excellence with installations were instrumental to gallery call to mind. Based on her extensive use of anime, one may easily form an impression that storytelling is Paek’s preparation, and Leslie Miller, whose expertise and thoughtfulness have fashioned this fourth beautiful document key focus, and her work confirms that there are limitless interpretations to be gleaned from these tales. Likewise, that will serve as a timeless reminder of this important exhibition series. COPYRIGHT4 5 lee somers

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LEE SOMERS

“Scapes” 1) Portable Landscape, 2012 2) Scape II, 2012 3) Scape, 2010 4) Scape IV, 2013 5) Electric Horizon, 2014 6) Shan Shui, 2014

Statement I am fascinated by the intersection of our cultural and natural histories.GREENWICH Architecture and landscape locate the human perspective in this nexus. Cartography and the natural sciences abstract and expand, overlaying our perceptions with alternate models of time and space. In travel, time spent outdoors, observation of ruins, cities, landscapes, and moments of sublime experience I am compelled by the systems in which we exist.

I find ceramics the perfect material metaphor for the entwinement of natural and cultural processes. Ceramics is a microcosm, compressing geologic time and the history of civilization into moments. Working with it is a process of reconciling intentions with serendipity. I strive to be mindful in making, attend to and question standards of craftsmanship, and remain open to indeterminate outcomes. My process is often experimental, utilizing products of chance. Collage is a key strategy in both physical and conceptual organization. Drawing from a variety of sources, sampling, collecting, and cataloging precedes a period of compositional trial and error. The resulting works weave a matrix of relations where juxtaposition is evident, components are both individual and integrated, and imagination is given multiple points of departure. COPYRIGHT8 9 Electric Horizon POTTERY

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COPYRIGHT10 Scape IV, (detail) 11 Scape IV POTTERY

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COPYRIGHT12 13 Shan Shui POTTERY

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COPYRIGHT14 15 Portable Landscape POTTERY

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COPYRIGHT16 Portable Landscape, (detail) 17 Portable Landscape, (detail) POTTERY

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COPYRIGHT18 Scape II, (detail) 19 Scape II POTTERY

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COPYRIGHT20 Scape I, (detail) 21 Scape I Ghada Amer Trisha Baga Robin Cameron Joanne Greenbaum Pam Lins Alice Mackler POTTERY David Salle HOUSE

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GHADA AMER TRISHA BAGA HOUSE ROBIN CAMERON JOANNE GREENBAUM PAM LINS ALICE MACKLER DAVID SALLE

1) Ghada Amer, Smoking Girl in Color, 2015 2) Ghada Amer, Lover’s Night, 2015 3) Ghada Amer, A Hidden Kiss, 2015 4) Trisha Baga, Justice, 2015 5) Trisha Baga, Camera, 2015 6) Trisha Baga, Woman, 2015 7) Robin Cameron, Vayyyyyyyyyse, 2015 8) Robin Cameron, The Dashed Misconstrue, 2013 9) Robin Cameron, Vayyyyyyse, 2014 10) Joanne Greenbaum, Untitled, 2014–2015 11) Joanne Greenbaum, Untitled, 2014–2015 GREENWICH 12) Joanne Greenbaum, Untitled, 2014–2015 13) Joanne Greenbaum, Untitled, 2014–2015 14) Joanne Greenbaum, Untitled, 2014–2015 15) Pam Lins, Model, Model, Model, 2013 16) Alice Mackler, Untitled, 2014 17) Alice Mackler, Untitled, 2015 18) Alice Mackler, Untitled, 2015 19) Alice Mackler, Untitled, 2013 20) Alice Mackler, Untitled, 2014 21) David Salle, Vessel 42, 2014 22) David Salle, Comet, 2013 23) David Salle, Plate 41, 2014 COPYRIGHT24 25 Alice Mackler, Untitled POTTERY

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COPYRIGHT26 Alice Mackler, Untitled 27 Alice Mackler, Untitled POTTERY

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COPYRIGHT28 Trisha Baga, Justice 29 Trisha Baga, from left to right, Woman, Camera, Justice POTTERY

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COPYRIGHT30 Ghada Amer, Smoking Girl in Color 31 Ghada Amer, from left to right, A Hidden Kiss, Lover’s Night POTTERY

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COPYRIGHT32 Joanne Greenbaum, Untitled 33 Joanne Greenbaum, Untitled POTTERY

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COPYRIGHT34 Robin Cameron, from left to right, The Dashed Misconstrue, Vayyyyyyyyyse, Vayyyyyyse 35 Robin Cameron, Vayyyyyyse POTTERY

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COPYRIGHT36 David Salle, from left to right, Vessel 42, Comet 37 David Salle, Plate 41 POTTERY

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COPYRIGHT38 39 Pam Lins, Model, Model, Model POTTERY

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jeremy hatch

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JEREMY HATCH

“Matter of Time” (affection, affliction) 1) Affection, Affliction, 2015 2) Shoe Toss, 2012 3) Affection, Affliction 1, 2015 4) Lock casting work station, 2015 5) Untitled (Haufbrau), 2015 6) Individual Locks, 2015

Statement “Matter of Time” (affection affliction) builds upon my use of the physicalGREENWICH and psychological properties of porcelain as a means to explore themes of memory, relationships, nostalgia and failure. The installation consists of a cast porcelain chain-link fence running the length of the gallery and relies on viewer participation in order to complete the work. From a library of plaster molds, gallery visitors are invited to cast a lock, inscribe it, and attach it to the ceramic chain-link panels. At the conclusion of the exhibition, the fence and amassed locks will be fired, fusing the objects together, serving as a permanent record of the event.

Over the past decade the ritual of attaching ‘love locks’ to public bridges, fences, gates and other urban structures has become an international phenomenon. My interest lies in the inherent contradictions contained within this seemingly innocuous romantic gesture. The custom can also be seen as a form of destructive vandalism. Just as sections of historic bridges are collapsing under the weight of accumulated locks, my porcelain replica risks a similar fate. Rather than struggling to maintain a sense of security, it embraces the potential for failure and the realization that vulnerability is fundamental. COPYRIGHT42 43 Shoe Toss POTTERY

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COPYRIGHT44 45 Affection, Affliction POTTERY

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COPYRIGHT46 47 Affection, Affliction I POTTERY

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COPYRIGHT48 Affection, Affliction I, (detail) 49 Individual Locks POTTERY

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COPYRIGHT50 Lock casting work station 51 Lock casting work station, (detail) POTTERY

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COPYRIGHT52 Untitled 53 Untitled (Haufbrau) andrea clark

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ANDREA CLARK

“No Truth, No Lies” 1) Fog, 2015 2) Daybreak, 2015 3) Rainbow II, 2015 4) Fire, 2015 5) Windows, 2015 6) Churches, 2015 7) Still Life with Roe’s Hand, 2015 8) Milk Cartons, 2015 GREENWICH 9) Cascading Leaves, 2015 10) Arrangement VI (picnic), 2015 11) Arrangement VII, 2015

Statement

My current work concentrates on constructing objects out of folded paper painted with porcelain. Through this intricate process of making, I re-familiarize myself with the object. By reducing it to a permanent, solid, material form I seek to release the object’s immaterial essence. I perceive the end of my time at Greenwich House Pottery as the beginning of my experimentation with the essence of objects. COPYRIGHT56 57 Churches POTTERY

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COPYRIGHT58 Churches, (detail) 59 Still Life with Roe’s Hand POTTERY

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COPYRIGHT60 Milk Cartons 61 Milk Cartons, (detail) POTTERY

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COPYRIGHT62 Cascading Leaves 63 Fog POTTERY

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COPYRIGHT64 Daybreak 65 Rainbow II POTTERY

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COPYRIGHT66 Fire 67 Arrangement VI (picnic) POTTERY

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COPYRIGHT68 Arrangement VII 69 Windows eun-ha paek

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EUN-HA PAEK 25) Teleporting 6, 2015 “A Part of, a parting” 26) Teleporting 7, 2015 1) Poodle Zero, 2015 27) Teleporting 8, 2015 2) Poodle Zero, 2015 28) Teleporting 9, 2015 3) Molt, 2014 29) Teleporting 10, 2015 HOUSE 4) Close Encounters, 2015 30) Teleporting 11, 2015 5) Third Kind, 2015 31) Teleporting 12, 2015 6) Poodle Two, 2015 32) Big Hat, 2015 7) Poodle Split, 2015 33) Vu, 2014-2015 8) Block Head, 2015 34) Deja, 2014–2015 9) Dog Box Pink, 2015 35) Poodle with Hat, 2015 10) Lil Poodle Box, 2014-2015 36) Echo, 2015 11) Dog Box Blue, 2014 37) Etc., 2015 12) Doggie Ball, 2015 38) Poodle Shapes, 2015 13) Baggie Dog, 2015 39) Poodle Friends, 2015 14) Dog Box Yellow, 2014 40) Poodle Face, 2015 15) Tongue on a Ball, 2015 41) Poodle Purple, 2015 16) Poodle Mash, 2015 42) Rhyme, 2015 17) Dog Box Orange, 2014 43) Poodle Hat, 2015 18) Wallplant, 2015 44) Poodle Head, 2015 19) Faceplant, 2015 45) A Miss, 2015 20) Teleporting 1, 2015 46) Poodle Molting,GREENWICH 2015 21) Teleporting 2, 2015 47) Poodle Ear, 2015 22) Teleporting 3, 2015 48) Poodle Portal, 2015 23) Teleporting 4, 2015 49) Sailor Drumstick, 2013–2014 24) Teleporting 5, 2015 50) Poodle One, 2015

Statement

The same way a boulder on a hill stores potential energy, a banana peel on the floor is the setup to a joke, storing potential “ha-has”. The setup might cause a smirk, without any real action taking place. My work uses this potential to construct narratives on the precipice of the familiar and strange; to explore our inner workings of grief and hope with humor. COPYRIGHT72 73 Molt POTTERY

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COPYRIGHT74 from left to right, Close Encounters, Third Kind 75 from left to right, Poodle One, Poodle Two, Poodle Split POTTERY

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COPYRIGHT76 from left to right, Lil Poodle Box, Dog Box Pink 77 Baggie Dog POTTERY

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COPYRIGHT78 79 from left to right, Teleporting 1–12 POTTERY

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COPYRIGHT80 Deja 81 Poodle Ear POTTERY

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COPYRIGHT82 Wallplant 83 Big Hat naomi cleary & Perry haas POTTERY

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NAOMI CLEARY & PERRY HAAS

Naomi Cleary Dishes hold the potential for human connection through their tactile nature. Most of us have associations and memories connected to dishes. We look at dishes and can easily imagineGREENWICH using them. They live in our physical space, in our kitchen cabinets, are used every day. They have a relationship to our bodies. We pick them up and even touch them to our mouths. Dishes speak of history and lineage, passed down from mother to daughter, connected to family dinners, celebrations and sharing. They are a reminder of the warmth and comfort found in domestic spaces.

Perry Haas I approach making with a childlike spirit of experimentation and exploration. My work stems from a love of the wood fired ceramic surface, particularly how it evokes many beautiful natural phenomena. Like imagining the way wind gathers and deposits leaves on a landscape according to changes in topography, I anticipate the manner in which ash will collect differently on the convex and concave surfaces of my gestural forms. These functional pots are developed as a place for this surface to exist and to be enjoyed as a part of our daily life. COPYRIGHT86 87 Naomi Cleary, from left to right, Bowl, Large Bowl, Cylinder POTTERY

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COPYRIGHT88 Naomi Cleary, Large Bowl 89 Naomi Cleary, Large Bowl (interior) POTTERY

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COPYRIGHT90 91 Perry Haas, from left to right, Shallow Bowls, Moon Jars, Serving Bowl POTTERY

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COPYRIGHT92 Perry Haas, Plate 93 Perry Haas, Moon Jar POTTERY

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94 Naomi Cleary, from left to right, Large Bowl, Fruit Bowl 95 Naomi Cleary, Large Bowl COPYRIGHT POTTERY

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COPYRIGHT96 Naomi Cleary, Installation View 97 Naomi Cleary, Installation View (detail) POTTERY

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COPYRIGHT98 Perry Haas, from left to right, Whiskey Cup, Footed Mug 99 Perry Haas, from top to bottom, Plates, Tumblers POTTERY

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COPYRIGHT100 Naomi Cleary, Server 101 Naomi Cleary, Installation View POTTERY

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COPYRIGHT102 103 Perry Haas, from left to right, Tea Cups, Whiskey Cups, Footed Mugs, Flat Bottom Mugs, Footed Mugs, Whiskey Cup, Tea Cups POTTERY

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