crafthaus2024-03-28T14:08:42ZMargaret Henkelshttp://crafthaus.ning.com/profile/MargaretHenkelshttp://storage.ning.com/topology/rest/1.0/file/get/357614895?profile=RESIZE_48X48&width=48&height=48&crop=1%3A1http://crafthaus.ning.com/group/inandoutofclay/forum/topic/listForContributor?user=3c2j5bbijk2gg&feed=yes&xn_auth=noInterview with Conner Burns of the Natchez Projecttag:crafthaus.ning.com,2012-02-28:2104389:Topic:3328472012-02-28T14:17:10.341ZMargaret Henkelshttp://crafthaus.ning.com/profile/MargaretHenkels
<div><span style="color: #000000;">Recently, I interviewed Conner Burns, of Natchez, Mississippi. Conner</span><br></br> <span style="color: #000000;">is a studio potter who hosts a unique annual gathering of three other</span><br></br> <span style="color: #000000;">invited potters, called the Natchez Project. Read on to learn about</span><br></br> <span style="color: #000000;">Conner’s innovative approach to collaboration, learning and sharing:…</span><br></br> <br></br></div>
<div><span style="color: #000000;">Recently, I interviewed Conner Burns, of Natchez, Mississippi. Conner</span><br/> <span style="color: #000000;">is a studio potter who hosts a unique annual gathering of three other</span><br/> <span style="color: #000000;">invited potters, called the Natchez Project. Read on to learn about</span><br/> <span style="color: #000000;">Conner’s innovative approach to collaboration, learning and sharing:</span><br/> <br/> <strong><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058190660?profile=original"><img width="250" class="align-right" src="http://storage.ning.com/topology/rest/1.0/file/get/1058190660?profile=RESIZE_320x320" width="250"/></a>Q: What is the Natchez Project?</strong></div>
<div><br/> A: Each year I award three ceramic artists Fellowships to participate<br/> in the Natchez Project. The Fellowship covers the cost of the<br/> project: studio, supplies, lodging. The Natchez Project brings these<br/> artists together in one space for a week, without distractions. There<br/> is no agenda, no requirement. The goal is to allow artists time and<br/> space to create, and an opportunity to interact with other experienced<br/> artists during the creation process.<br/> <br/> The artists spend a week creating artwork. Each year the artists are<br/> different, the manner in which they interact varies; often resulting<br/> in a ‘personality’ or ‘concept’ for the project.</div>
<div style="text-align: right;"><span class="font-size-1"><br/></span></div>
<div style="text-align: right;"><span class="font-size-1">Ceramic artwork by Steve Hasslock.</span></div>
<div style="text-align: right;"><span class="font-size-1">(Image courtesy of Conner Burns)</span></div>
<div><br/> For example, in one year the artists chose to work on experimental<br/> forms and also chose to have a critique at the end of each day. The<br/> artists decided that since each of us work alone in our studios and<br/> often have commitments, this was an opportunity to explore without<br/> specific commitments and to also obtain input from other artists<br/> daily. The next year was more fluid as artists worked on new work as<br/> well as on refining ideas that they recently started exploring.<br/> <br/> An exhibit is held at the end of the week. The gallery is set with<br/> the completed work of the artists that they brought with them for the<br/> exhibit. The public is invited to attend and see the completed work,<br/> converse with the artists and visit the studio to explore the work<br/> that is in process, which is a bonus for the public and artists<br/> alike. Most artwork seen in galleries and publications are not only<br/> completed, but are the successful creations at the end of a long<br/> period of development of a particular idea or concept. To be able to<br/> see transitional, new or developing artwork and to discuss it with the<br/> artists is not only rare but also exciting to both artists and<br/> patrons.<br/> <br/> <strong>Q: What enticed you to try this?</strong><br/> <br/> A: In that past I participated in art festivals and also ran a<br/> teaching studio. I noticed that the interactions with artists was a<br/> positive part of the art festivals, but also noticed that the<br/> conversations were abbreviated in that sales environment. I began<br/> considering other options for artist interactions. I began to discuss<br/> my ideas with artists; and noticed that the interest level was<br/> overwhelmingly positive. One particular individual, Cynthia Lee, then<br/> the director of the Odyssey Center of Ceramic Art, was encouraging and<br/> also shared with me a similar concept that the Odyssey explored in the<br/> past. These conversations confirmed my interest. I was then awarded<br/> a fellowship to spend two weeks at the Mary Anderson Center in a time<br/> of solitary creation. The benefits I received from that time of<br/> undistracted creation pushed me closer to my concept of the Natchez<br/> Project. The Natchez Project was born.<br/> <br/> <strong>Q: What are some obstacles or difficulties with the planning of this event?</strong></div>
<div><br/> A: For most individuals the largest difficulty would be space. Four<br/> artists in one studio for a week can produce a great quantity of work.<br/> If the space is crowded, that will short circuit the process.<br/> Thankfully, I have a studio that provides a nice work area for each<br/> artist, accommodating all of his or her resources as well.<br/> <br/> <strong>Q: Do you have equipment for all of the processes?</strong></div>
<div><br/> A: I have enough wheels, slab rollers, extruders, mixing facilities,<br/> worktables and shelving for all to work without crowding each other.<br/> <br/> <strong>Q: What is the lodging like?</strong><br/> <br/> A: Being together for a week means different things to different<br/> people. Having a space that allows gathering when desired and private<br/> space when needed is important. A location near the studio is also<br/> helpful. Different individuals have different routines and needs, so<br/> being able to get back to your room with ease makes it comfortable for<br/> the participants.<br/> <br/> <strong>Q: How do you promote the Natchez Project?</strong></div>
<div><br/> A: While there is not a need to promote the project, since it is a<br/> closed event, promoting the opening event is important. I am not great<br/> at the social media process, as I would prefer being the studio, but I<br/> do send out invitations and post images throughout the week.<br/> <br/> <strong>Q: What change have you made as the event has gone forward?</strong></div>
<div><br/> A: I have not made substantial changes. It seems to be the correct<br/> system and so I have stayed with it.<br/> <br/> <strong>Q: Do you think this model is replicable?</strong></div>
<div><br/> A: Yes. It is not difficult, but it does take some planning and<br/> organization, which will take time away from something else. If you<br/> invite individuals to participate in an event, I believe you should<br/> also be sure that it is well organized and a great experience for the<br/> invited artists.<br/> <br/> <strong>Q: What do you get out of the Natchez Project?</strong></div>
<div><br/> A: Many things. I enjoy getting to know the artists better. Some who<br/> I invite I know well, while others I barely know. I enjoy seeing the<br/> artists excited about the time to work, and hearing them getting more<br/> excited about the pursuing their new ideas.<br/> <br/> <strong>Q: What do the participants get out of the Natchez Project?</strong><br/> <br/> A. New work, as well as connections with artists who they may not<br/> know. Instead of the short and interrupted conversations that artists<br/> often exchange at a ‘sales’ event, the conversation is not rushed or<br/> artificially disrupted. Conversations often stop, pause and are<br/> revisited at various times during the week. Artists have also told me<br/> they value the opportunity to see a process another artists uses and<br/> the progress made on an idea the artist has long desired to explore.<br/> Truly, it varies with each artist and I believe continues to develop<br/> over time. Past fellowship artists tell me that they continue considering<br/> concepts or techniques long after the project is over. At other times<br/> it is a relationship formed. Most artists in the project are not<br/> ‘close friends’. They might be acquaintances, familiar with the other<br/> artist’s work or completely unfamiliar with each other. Regardless of<br/> the level of relationship at the beginning of the project, there is a<br/> depth of relationship at the end of the project. This ‘more familiar’<br/> level of knowledge often encourages those artists to communicate about<br/> various events, ideas, and concepts long after the actual event is<br/> over.<br/> <br/> <br/> <br/> <strong>Q: What does the community get out of it?</strong></div>
<div><br/> A: They get the opportunity to see exceptional artwork up close,<br/> rather than in publications. They also get the opportunity to interact<br/> with the artist. As an added bonus they get to visit the studio and<br/> see the artwork that has been in process all week. The event not only<br/> expands the artists’ perception of possibilities, but that of<br/> individuals in the community.<br/> <br/> <strong>Tom Coleman – 2013</strong><br/> <strong>Elaine Coleman – 2013</strong><br/> <strong>Meira Mathison – 2013</strong><br/> <strong>Michael Sherrill - 2013</strong><br/> <strong>Lynn Smiser Bowers - 2012</strong><br/> <strong>Steve Hasslock – 2012</strong><br/> <strong>Billy Ray Mangham - 2012</strong><br/> <strong>Cynthia Lee – 2011</strong><br/> <strong>Mike Jabbur – 2011</strong><br/> <strong>Cory McCrory - 2011</strong><br/> <strong>Scott Bennett – 2010</strong><br/> <strong>Mark Chatterley – 2010</strong><br/> <strong>Steven Hill – 2010</strong><br/> <strong>Cathy Broski – 2009</strong><br/> <br/> For more information, click on <a href="http://www.connerburns.org/">www.connerburns.org</a></div> Women's Studio Workshop clay opportunitiestag:crafthaus.ning.com,2011-10-05:2104389:Topic:2992782011-10-05T12:55:20.344ZMargaret Henkelshttp://crafthaus.ning.com/profile/MargaretHenkels
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058096643?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1058096643?profile=original" width="450"></img></a></p>
<p>Women's Studio Workshop in Rosendale, New York offers ceramics <a href="http://www.wsworkshop.org/_art_opp/intern_clay.htm" target="_blank">ceramics internships</a> and <a href="http://www.wsworkshop.org/_art_opp/artopp_fellow_clay.htm" target="_blank">fellowships</a>. The next deadline is October 15, 2011. </p>
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<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058096643?profile=original"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1058096643?profile=original" width="450"/></a></p>
<p>Women's Studio Workshop in Rosendale, New York offers ceramics <a target="_blank" href="http://www.wsworkshop.org/_art_opp/intern_clay.htm">ceramics internships</a> and <a target="_blank" href="http://www.wsworkshop.org/_art_opp/artopp_fellow_clay.htm">fellowships</a>. The next deadline is October 15, 2011. </p>
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<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058096756?profile=original"><img width="250" class="align-left" src="http://storage.ning.com/topology/rest/1.0/file/get/1058096756?profile=RESIZE_320x320" width="250"/></a><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058097790?profile=original"><img width="250" class="align-left" src="http://storage.ning.com/topology/rest/1.0/file/get/1058097790?profile=RESIZE_320x320" width="250"/></a></p>
<p> </p> A Bit of Clay on the Skin: New Ceramic Jewelrytag:crafthaus.ning.com,2011-04-04:2104389:Topic:2187162011-04-04T15:20:38.785ZMargaret Henkelshttp://crafthaus.ning.com/profile/MargaretHenkels
<div class="wrap-title-3"><div class="title-1"><h1>A Bit of Clay on the Skin: New Ceramic Jewelry</h1>
<h2>March 15 - September 4, 2011</h2>
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<div class="title-2"><h3>selected objects from the exhibition</h3>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058021768?profile=original" target="_self"><img class="align-right" src="http://storage.ning.com/topology/rest/1.0/file/get/1058021768?profile=original" width="334"></img></a></p>
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<p><i>A Bit of Clay on the Skin: New Ceramic Jewelry</i> explores the…</p>
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<div class="wrap-title-3"><div class="title-1"><h1>A Bit of Clay on the Skin: New Ceramic Jewelry</h1>
<h2>March 15 - September 4, 2011</h2>
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<div class="title-2"><h3>selected objects from the exhibition</h3>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058021768?profile=original"><img class="align-right" width="334" src="http://storage.ning.com/topology/rest/1.0/file/get/1058021768?profile=original"/></a></p>
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<p><i>A Bit of Clay on the Skin: New Ceramic Jewelry</i> explores the manifold appeal of ceramics, especially porcelain, in jewelry. Organized by the Fondation d'Entreprise Bernardaud and curated by the renowned German-born goldsmith and jewelry artist Monika Brugger, the exhibition showcases the versatility and allure of the medium, which can be modeled or cast, used alone or with metal, wood, and stone, and vary in color and texture. Best known as the stuff of the luxurious and the mundane, of fine tableware and technical equipment, when used in jewelry, porcelain sparks the visual and physical sensations to become an object of desire.</p>
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<p><br/>The exhibition showcases the scope and ingenuity of the more than one hundred works on view and features the work of 18 cutting-edge jewelry artists, including creations by such notables as Peter Hoogeboom, Evert Nijland, Ted Noten (The Netherlands), Gésine Hackenberg (Germany), Marie Pendariès (Spain), and Shu-Lin Wu (Taiwan). While some make reference to traditional jewelry in materials and symbolism, others altogether redefine it in substance, form, and matter.<br/><br/>"Even though the Egyptians produced seal rings in faience, and the Greeks and Romans gilded terracotta to imitate gold, the use of ceramics in the fabrication of jewelry was abandoned centuries ago," says curator Monika Brugger. "Today many artists, like those assembled in this show, are popularizing porcelain as a compelling material for jewelry."<br/><br/>"Ceramic jewelry embodies the creative transformation of a humble Earth material by art and industry into a wearable object of great refinement and sensuality," notes MAD's Jewelry Curator Ursula Ilse-Neuman. "Exploring new currents in art jewelry is a vital part of the Museum's mission," she continues. "We are delighted to present these visually and intellectually engaging works to a New York audience."<br/><br/>THE FONDATION D'ENTREPRISE BERNARDAUD<br/>Established in 2003 by Michel Bernardaud, the family-run company's Chairman and CEO, the mission of the Fondation d'Entreprise Bernardaud is to promote a deeper public awareness of porcelain's fascinating history and extraordinary qualities. The Fondation, located in Limoges, France, welcomes an international array of artists and designers who are invited to invent unexpected usages for porcelain. Through these innovative and technically challenging projects, the Fondation aims to give new value to a craft that favors the "wisdom of the hand."<br/><br/>BERNARDAUD<br/>A family owned-and-operated company founded in 1863, Bernardaud is the premier manufacturer of Limoges porcelain. Deeply rooted in the history and activity of that region, the company is highly regarded for its artistic, technical and innovative prowess. Among French luxury brands it is a considered a trendsetter for objects that are characterized by original forms and stunning decorative embellishments, while globally the company is renowned for its commitment to the French traditions of impeccable craftsmanship, refinement, and creativity in the fabrication of porcelain objects. The vast range of its collections--tableware, jewelry and decorative interior objects---elegantly fuses design, art, and lifestyle.<br/><br/></p>
<p><em>A Bit of Clay on the Skin: New Ceramic Jewelry</em> is made possible in part by the Mondriaan Foundation, Amsterdam, and the Curators Circle, a leadership Museum support group.Champagne for the opening reception graciously donated by La Caravelle.</p>
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<p>SOURCE: <a target="_blank" href="http://collections.madmuseum.org/code/emuseum.asp?emu_action=advsearch&rawsearch=exhibitionid/,/is/,/533/,/true/,/false&profile=exhibitions">Museum of Art and Design, NYC</a></p>
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</div> Job Opp: Guest Editor at THE STUDIO POTTERtag:crafthaus.ning.com,2011-03-21:2104389:Topic:2080312011-03-21T16:23:47.423ZMargaret Henkelshttp://crafthaus.ning.com/profile/MargaretHenkels
<a href="http://storage.ning.com/topology/rest/1.0/file/get/1058012651?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1058012651?profile=original" width="223"></img></a> <br></br>
<p>ABOUT THE STUDIO POTTER</p>
<p>Published twice a year, <span>THE STUDIO POTTER</span> has been the independent voice of ceramics since 1972. Based in first- person narrative and studio practice, the journal has fostered thoughtful writing</p>
<p>on such themes as the environment, criticism, tech- nology, ceramic history, and education. Athough SP has published scholarly…</p>
<a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058012651?profile=original"><img class="align-full" width="223" src="http://storage.ning.com/topology/rest/1.0/file/get/1058012651?profile=original"/></a><br/>
<p>ABOUT THE STUDIO POTTER</p>
<p>Published twice a year, <span>THE STUDIO POTTER</span> has been the independent voice of ceramics since 1972. Based in first- person narrative and studio practice, the journal has fostered thoughtful writing</p>
<p>on such themes as the environment, criticism, tech- nology, ceramic history, and education. Athough SP has published scholarly articles, it is aimed at the curious general reader rather than an academic audience.</p>
<p>JOURNAL SPECIFICATIONS</p>
<p>Each issue of <span>THE STUDIO POTTER</span> is 96 pages, of which approximately 90 contain text and images pertaining to the theme. Typically there are 20–25 articles of varying lengths in each issue. The journal has always been characterized by a lively mix of written and visual content; the design of each issue is unique and reflects the theme.</p>
<div><p>TIMELINE</p>
<p><span>THE STUDIO POTTER</span> is published in January and July. Upcoming themes are published in the journal and on the SP website at least six months in ad- vance. The guest editor will consult with editor Mary Bar- ringer on the winter/spring 2012 issue during the fall of 2011 to get a sense of the process and sequence of tasks, then will begin work on Volume 40, Number 2 in January 2012.</p>
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<p>ELIGIBILITY</p>
<p>Applicants must have at least five years’ post-education experience in the field. Candidates who are roughly the same “age” as <span>THE STUDIO POTTER</span>, in other words born between 1970 and 1974, are especially encour- aged to apply, but all serious proposals will be considered.</p>
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<p>DUTIES OF THE GUEST EDITOR</p>
<p>Once named, the guest editor will work in close collaboration with the editor and designer, as well as the authors of sub- mitted articles, both solicited and unsolicited.</p>
<p><span>Duties include: Writing</span> and disseminating a call for articles. <span>Inviting</span> and choosing authors to contribute articles to the issue. <span>Notifying</span> authors of accept- ance or rejection of unso- licited submissions. <span>Working</span> with authors of accepted submissions on revisions. <span>Overseeing</span> collection of visual materials, including captions and permissions.<span>Delivering</span> final edited texts to copy editor in a timely fashion, and to art director on deadline. <span>Writing</span> an editorial.<span>Working</span> with art director, editorial assistant, and Board of Directors. <span>Sending</span> complimentary issues to authors.</p>
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<p>PROPOSALS</p>
<p>Proposals should include the following: <span>An introductory letter</span>, outlin- ing the theme, tone, and visual character of issue. <span>Biographical</span> and professional information about the guest editor, including relevant writing/editing experience (3 pages max). <span>A list</span> of potential authors, including, if possible, names of those already willing to submit ar ticles. <span>Joint proposals</span> may be sub- mitted from two people wish- ing to ser ve as co-editors.</p>
<p>HONORARIUM</p>
<p>An honorarium and travel stipend will be offered.</p>
<p><span>Proposals</span> may be submitted electronically to guesteditor@studiopotter.org</p>
<p><span>Questions</span> may be directed to Mary Barringer at editor@studiopotter.org</p>
</div> POTTERS COUNCIL CONFERENCE INSPIRED CERAMIC SURFACEStag:crafthaus.ning.com,2011-03-21:2104389:Topic:2083242011-03-21T16:11:43.520ZMargaret Henkelshttp://crafthaus.ning.com/profile/MargaretHenkels
<div class="uiHeader uiHeaderBottomBorder mbm"><div class="clearfix uiHeaderTop"><div><h2 class="uiHeaderTitle">10 Reasons Why You Should Register and Attend Inspired Ceramic Surfaces Conference | Reason #1</h2>
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<div class="clearfix"><div class="mbs uiHeaderSubTitle lfloat fsm fwn fcg">by <a href="http://www.facebook.com/pages/Potters-Council/47489382842">Potters Council</a> on Monday, March 21, 2011 at 11:39am…</div>
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<div class="uiHeader uiHeaderBottomBorder mbm"><div class="clearfix uiHeaderTop"><div><h2 class="uiHeaderTitle">10 Reasons Why You Should Register and Attend Inspired Ceramic Surfaces Conference | Reason #1</h2>
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<div class="clearfix"><div class="mbs uiHeaderSubTitle lfloat fsm fwn fcg">by <a href="http://www.facebook.com/pages/Potters-Council/47489382842">Potters Council</a> on Monday, March 21, 2011 at 11:39am</div>
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<div class="mbl notesBlogText clearfix"><div><p><strong>POTTERS COUNCIL CONFERENCE</strong></p>
<p><strong>INSPIRED CERAMIC SURFACES</strong></p>
<p>May 20-22, 2011</p>
<p>Temple, Texas</p>
<p>Hosted by Cultural Activities Center</p>
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<p>This week Potters Council will be featuring the 10 Reasons Why You Should Register and Attend our upcoming conference in Temple, Texas: INSPIRED CERAMIC SURFACES. You will receive two notes each day this week.</p>
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<p><span class=" fbUnderline"><strong>Reason #1 | Presenter Jake Allee</strong></span></p>
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</strong><p><strong>New Perspectives on the Potter’s Wheel as a Tool</strong></p>
This demonstration will cover several thrown and altered techniques combined with hand building methods to create composite forms that break from the conventions of a wheel thrown object. Pushing out on the clay, stretching, making marks, sprigging on the surface, and cutting forms apart will all be employed to form pieces that will be assembled into complex vessels. During this demonstration a dialogue will be created with the workshop participants discussing how and why decisions are made in this process.<br />
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<p>Jake will also discuss his design approach to solving issues of proportion through the act drawing. Different examples of how drawing can be interpreted and utilized in the thought process as well as the construction of a vessel will be demonstrated. Special consideration will be given to the descriptive explanation of how drawing as well as the analysis architectural form takes on an inspirational role in his creative process.</p>
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<p>To Jake it’s very important to capitalize on the plastic nature of clay in such a manner that the viewer is challenged with understanding the technical aspects of how a piece is constructed. This acts as a gateway for intellectual discussion on the formal aspects of composition, the overall aesthetic effect, and most importantly how the act of making is significant to who he is as a person. He can be calculated and very formal as well as spontaneous and very focused on the moment. These aspects of his personality and his love for living life as an adventure are at the core of his desire to continually make ceramic objects. Jake makes pieces that reflect the many elements that come together to make his life in the form of a vessel because of its historical significance to clay as a medium and its relationship to human life.</p>
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<p><strong>Additional Information:</strong></p>
<p>Just received Jake's hand-outs for attendees... You're going to LOVE them! 10 pages of information you will be able to use in your studio right away. He put such detail into his hand-out that it makes us all excited to see him present.</p>
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<p>Register by April 10 and SAVE $50 | To Register:<a href="https://www.pubservice.com/PR/PQConference/CeramicSurface.aspx?pr=pq" rel="nofollow" target="_blank">https://www.pubservice.com/PR/PQConference/CeramicSurface.aspx?pr=pq</a></p>
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<p>To read more about our other exciting presenters: Margaret Bohls, Sumi von Dassow, Claudia Reese, Sharon Smith, and James Watkins go here:<a href="http://ceramicartsdaily.org/potters-council/inspired-ceramic-surfaces/" rel="nofollow" target="_blank">http://ceramicartsdaily.org/potters-council/inspired-ceramic-surfaces/</a></p>
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</div> Job Opp: Hale Farm and Village seeks an Historical Interpreter – Pottertag:crafthaus.ning.com,2011-03-16:2104389:Topic:2049672011-03-16T20:07:49.238ZMargaret Henkelshttp://crafthaus.ning.com/profile/MargaretHenkels
Hale Farm and Village seeks an Historical Interpreter – Potter. This position is responsible to the Operations Manager and accountable for relating accurate and engaging historical interpretation for the visiting public at Hale Farm & Village with an emphasis in pottery. This position is classified as public program support staff. The Potter will Coordinate activities with the Interpretation Department including special programs, school, and camp activities along with the museum…
Hale Farm and Village seeks an Historical Interpreter – Potter. This position is responsible to the Operations Manager and accountable for relating accurate and engaging historical interpretation for the visiting public at Hale Farm & Village with an emphasis in pottery. This position is classified as public program support staff. The Potter will Coordinate activities with the Interpretation Department including special programs, school, and camp activities along with the museum store.<br/>Duties:<br/><br/>Provides interpretation on the craft with the emphasis on the 19th century.<br/>Produce the HFV pottery line as determined by the HFV Director and/or store manager to meet the specifications and assignments provided for retail sale, future wholesale, and for use in the programs at HFV.<br/>Perform general maintenance and repairs on pottery equipment. Notify Operations Manager on the supply and equipment status<br/>Works collegially with other historical interpreters at Hale Farm & Village<br/>Provides security for the museum collection by reporting to the supervisor(s) damage, maintenance issues, and any situation which may compromise the safety or preservation of the museum collection. Also performs housekeeping duties as assigned and instructed.<br/>Assists in creating handcrafted items for sale in the retail and wholesale departments, and assists in minor related administrative tasks as directed.<br/>Role models appropriate methods and techniques of interpretation and production through continual research.<br/>Collaborates with all HFV staff to implement all public programming to the highest level of quality and complete visitor satisfaction, if not exceeding expectation(s).<br/>Willingly participates in outreach presentations or programs for the direct benefit of Hale Farm & Village and the audience it serves.<br/>If assigned to the First Person Interpretation program, the interpreter will do all necessary reading, research and training needed to accurately portray the character assigned to him/her.<br/>If assigned to the Third Person/Craft Department, the interpreter will conduct appropriate research to add to their knowledge base and to assist other crafters in the development of their own research and knowledge.<br/>Undertakes other specific temporary duties as assigned by the Manager of First Person Interpretation, the Manager of Crafts and Trades, or his/her assignee, at Hale Farm & Village.<br/>Essential Functions: Ability to communicate historically accurate and relevant research/information to the visiting public in an educationally engaging manner.<br/>Qualifications: The incumbent must have a high school diploma or equivalent, and a knowledge of, and willingness to learn 19th century and Western Reserve history. This position must actively support the museum’s mission, policies and procedures, as well as demonstrate professional behavior, a positive attitude in working with the visiting public, dependability and reliability.<br/>Please submit resumes to lleaman@wrhs.org. Western Reserve Historical Society is an equal opportunity employer. Interview with Crafthaus Member Amber Aguirretag:crafthaus.ning.com,2011-02-01:2104389:Topic:1799412011-02-01T16:09:24.079ZMargaret Henkelshttp://crafthaus.ning.com/profile/MargaretHenkels
<blockquote><p>Amber Aguirre is a ceramic artist working in Hawaii. She creates thought-provoking work, and has developed an original method of high fire "Faux-ku", which looks like Raku, but is much more durable. I interviewed her recently. Below are her thoughtful and gracious answers!</p>
<p><br></br>Please comment on the confrontation of the amount of control we have over our destiny, as it relates to your work. Specifically, what role does humor play in this pursuit?</p>
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<blockquote><p>Amber Aguirre is a ceramic artist working in Hawaii. She creates thought-provoking work, and has developed an original method of high fire "Faux-ku", which looks like Raku, but is much more durable. I interviewed her recently. Below are her thoughtful and gracious answers!</p>
<p><br/>Please comment on the confrontation of the amount of control we have over our destiny, as it relates to your work. Specifically, what role does humor play in this pursuit?</p>
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<p><font color="#FF0000">I have always had questions about how much control we have over our own destiny. My mom is a Holocaust survivor and when I was a child I always asked her why the Jews went along with all the restrictions that eventually lead to their slaughter. Her response to me was always “we had no choice”. The concept of being “without choice” really bothered me and I didn’t understand her response since she eventually took the chance and made the choice to escape. After years of contemplating this (and lots of therapy) I have come to the conclusion that we make choices all the time that can change our destiny. This is what my sculpture “Fork in the Road” is about, and actually many of my sculptures are about. The character of “Pony Girl” for example represents the “victim”, yet she is making a choice to be that victim.</font></p>
<p><font color="#FF0000">I try to use humor to get my messages across as I feel that it creates a draw that is more conducive to bringing people to think than being serious. My daughter put it in a way that I like. She said that I give my audience a “one-two punch” I draw them in with humor, and then I hit them with the message. I laugh at everything because we as humans are such darn flawed things! I think it is hilarious how we set ourselves up for failures and all I can do is laugh at it. Since I believe in free choice I have to acknowledge that it is our own flawed choices that get us into trouble and that just seems so comically absurd to me. If people take themselves too seriously then I think they end up being unhappy. Laughing at my mistakes makes for constant fun in life because I make so many of them. </font></p>
<p><font color="#FF0000">For example I have been working on a 6 foot tall sculpture of my “Bunny Girl” character. I have never done anything this big before and I have had 3 complete failures at it (so far). When I look at why these failed, every time it is because of some flaw in my character. </font></p>
<p><font color="#FF0000">The first time it crashed to the ground because my dogs knocked it over. Well, duh! I have 4 dogs…I should have been able to see that coming. The second time it warped in the kiln. This was because I was using the wrong kind of clay. I KNEW it was the wrong kind and in fact, I had ordered a good sculpture mix but was too impatient to wait for it to get to Hawaii. I figured, “what the heck” I’ll give it a try anyway. The results were totally predictable. The third time I was lazy about making the wood supports strong enough and of course they failed. </font></p>
<p><font color="#FF0000">All of these were due to my own risk taking and corner cutting. It’s too funny that I keep setting myself up. I am now on the fourth incarnation and I am going a lot slower and trying to be more patient. It’s a great lesson in my faults and trying to overcome them.</font></p>
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<p>Does the process of making heal you, and if so, how? And, more generally, how does the making process affect you?</p>
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<p><font color="#FF0000">I have never been particularly good at confrontation and after years of therapy I realized that I have been battling a “victim syndrome” that was a result of being the child of a survivor. I have had to fight this throughout my life and using sculpture as my current therapy has helped a great deal in being able to understand and visualize my issues. It also helps me laugh at my problems instead of getting hung up on them. The character of “Bunny Girl” is a direct result of this victim syndrome. Bunny Girl represents the cute, fluffy bunny that you trust and think is harmless, yet it can turn and stab you in the back. Too many times I have set myself up to be stabbed in the back with my trusting nature. When it happens, I can’t express myself to them and get satisfaction, but I express it in clay and then move on.</font></p>
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<p>Please elaborate on how social commentary is sacred to you.</p>
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<p><font color="#FF0000">I feel that if we do not comment on what we feel are the injustices of the world, they will continue. If I can bring light to so<font size="2">mething that someone may not have thought of before and perhaps even change someone’s mind about something, then my work is worth doing. </font> <font size="2">By using humor and unconventional topics I am hoping that people will take notice and perhaps make a difference in the world.</font> </font><font size="2"><font color="#FF0000">Since I feel that art is my only “gift” I must use it in some way that can make a difference.</font></font></p>
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<p>Please comment on the Rabbit project.</p>
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<p><font color="#FF0000">I am doing 365 rabbit heads, one head for each day of the year of the rabbit: 2011. This project is to work on my discipline and give me some structure. It also keeps my brain active thinking of new ideas. Last year I traveled so much to shows, conferences, etc. that I felt that I wasn’t spending enough time in the studio. This is going to force me to think about ideas and work every day. At the end I will have a show of all 365 heads and hopefully feel a great sense of accomplishment (and probably relief)! I conceived this show while on a 2 week residency at Watershed Center for the Ceramic Arts. Since it is in Maine, and far from Hawaii, I didn’t want to work on something shipping intensive so I made 7 small head sculptures for the wall. One of the things I liked very much about it was that everyone who came into the studio laughed when they saw them. I love making people giggle and this idea seemed like a fun thing to do. They also all sold very fast at the Ceramics Annual of America show at Fort Mason and then I was asked to make more for SOFA Chicago. Also, they are fun to do.</font></p>
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<p>Can you explain a bit about the Fauxku process you developed? </p>
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<p><font color="#FF0000">When I started being rep’d by John Natsoulas Gallery on the mainland (CA) I had issues shipping my work because I was using “Naked Raku” as the surface treatment on all of my sculptures. I love this look because it visually represents how “broken” and “flawed” my characters are. Unfortunately shipping became a real problem as the raku process left the clay unvitrified and no matter how carefully I would pack it I inevitably had breakage occur. When John took my work to NCECA a few years ago he confronted with this problem. I was already getting noticed for my unique look so I couldn’t just change it. Necessity is the mother of invention and I needed to figure out a way to achieve the look of Naked Raku with a high fire process. I went home to my studio to work this out and the process I came up with I call Naked Fauxku because it looks much like naked raku, but is a “fake” way of doing it that doesn’t even involve raku. It is high fire and can be done in an electric kiln eliminating the problems I was having with breakage and also allowing me to add glaze at the same time as firing which was problematic with Naked Raku. There will be an article about how to do it coming up in PMI magazine sometime this year in conjunction with a book about alternative firing techniques being edited by Eduardo Lazo. I will be contributing a chapter on how to do the Naked Fauxku process. It will be published sometime at the end of this year by the American Ceramics Society.</font></p>
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<p>How do you approach design and technical challenges?</p>
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<p><font color="#FF0000">I get input from those who have gone before me. No sense in reinventing the wheel. I go to Esther Shimazu who is my mentor for a lot of advice and I have also gotten much help with large work from Lisa Reinertson. My problem is the advice is always good, but I don’t always take it because I am stubborn. I usually end up figuring things out for myself the hard way. Somehow I learn better by making massive mistakes…go figure… When I do take people’s advice I usually have it easier.</font></p>
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<p>7. How do you approach scale when creating your work? Ever work small? large? why?</p>
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<p><font color="#FF0000">I like to challenge myself. I am currently working on the rabbit heads that are small…about 3-5 inches each, while at the same time I am working on the 6 foot tall giant Bunny Girl. It makes me feel a bit schizophrenic but then I don’t do anything easy. It’s just no fun. It’s a challenge to do something small and something really big every single day.</font></p>
<p><font color="#FF0000">I also like to provide galleries with work of all sizes. Small work like the heads have been selling really well during the recession and I also like the idea that someone who loves art but is not rich can still afford to buy something without breaking the bank. On the other hand, I think it is important to have medium and large size work for collectors and people who can afford to collect big art. Galleries are happy when they have things that sell. I am just happy to be constantly creating.</font></p>
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</blockquote> Akio Takamori in the Fleshtag:crafthaus.ning.com,2010-11-02:2104389:Topic:1487532010-11-02T14:11:15.639ZMargaret Henkelshttp://crafthaus.ning.com/profile/MargaretHenkels
<p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica">I attended a slide lecture by Akio Takamori at the Austin Museum of Art a couple of weeks ago, and it was really inspiring. The lecture was part of Takamori's residency at the museum's Laguna Gloria Art School--a new program for them. I also sat in on his workshop on Sunday morning, so got to see him at work after hearing about his thought process. What a treat! <span style="font: 12.0px Arial">Akio's work has always been…</span></p>
<p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica">I attended a slide lecture by Akio Takamori at the Austin Museum of Art a couple of weeks ago, and it was really inspiring. The lecture was part of Takamori's residency at the museum's Laguna Gloria Art School--a new program for them. I also sat in on his workshop on Sunday morning, so got to see him at work after hearing about his thought process. What a treat! <span style="font: 12.0px Arial">Akio's work has always been figurative, but I was more familiar with his early vessels. He is still involved with vessel forms,</span></p>
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<p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica"><span style="font: 12.0px Arial">but the lecture focused on the series of</span> life-size figures he has created for a number of exhibitions in the last ten years or so.</p>
<p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Verdana">Akio Takamori was born in 1950 in Nobeoka, Miyazaki, Japan. While working as an a<span style="font: 12.0px Helvetica">pprentice in a production pottery in Japan, he met ceramicist Ken Ferguson, who became a lifelong friend. He moved to the U.S. in 1974 to attend the Kansas City Art Institute, receiving his</span> BFA there in 1976 and an MFA from Alfred University in New York in 1978. Since 1993 he has been a faculty member in the University of Washington School of Art. <span style="color: #666666">Working for years in a variety of media, he has incorporated drawings, lithos, and photographs in the most recent exhibitions. </span></p>
<p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Verdana">Much of Takamori's work is an exploration one's place in the world, how one sees oneself and how others see him, particularly across cultures. Seemingly very comfortable in his own skin, Akio said he finds self-consciousness "uncomfortable, but also stimulating", and the recent exhibitions have played with the roles of viewer and viewed in different ways. </p>
<p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Verdana">In "Sleepers", all the figures were placed on tatami mats, and all were asleep. Akio said audiences were at once more respectful because a sleeping figure is so vulnerable, and freer to look, since the figure didn't look back. Most recently, figures are paired with photographs and prints of themselves, sometimes viewing each other and sometimes avoiding each other's gaze.</p>
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<p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Verdana">Seeing Akio at the workshop after hearing him talk about his process was eye-opening. He works in a buff stoneware and paints with underglazes and stains, and the pieces are usually fired several times, three on average. </p>
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<p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Verdana">Akio rarely uses glazes, so there is no shininess to deflect the viewer away from the surface. Instead you are drawn into his fascinating world of reflection. </p>
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<p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Verdana">Thanks to Austin ceramicist Ginger Geyer for the workshop photo. <a href="http://http://www.gingergeyer.com/artist_links/index.html">http://www.gingergeyer.com/artist_links/index.html</a></p>
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<br class="Apple-interchange-newline"/> Mushroomstag:crafthaus.ning.com,2010-09-29:2104389:Topic:1429772010-09-29T16:45:37.409ZMargaret Henkelshttp://crafthaus.ning.com/profile/MargaretHenkels
Recently, the weather in the Boston area has been moist and warm. The sweet smell of decaying matter fills the air when I take my dog on his morning jaunts in the woods behind my house. We both enjoy these walks. I, like many artists, find inspiration in the natural world, as well as a meditative , dreamy state of mind when walking. Just this morning I was having such a walk, and decided to use my windbreaker as a makeshift basket to carry these home to share with you:…<div><br></br></div>
Recently, the weather in the Boston area has been moist and warm. The sweet smell of decaying matter fills the air when I take my dog on his morning jaunts in the woods behind my house. We both enjoy these walks. I, like many artists, find inspiration in the natural world, as well as a meditative , dreamy state of mind when walking. Just this morning I was having such a walk, and decided to use my windbreaker as a makeshift basket to carry these home to share with you:<div><br/></div>
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</div> When Small Is Bigtag:crafthaus.ning.com,2010-09-19:2104389:Topic:1407182010-09-19T21:41:25.887ZMargaret Henkelshttp://crafthaus.ning.com/profile/MargaretHenkels
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<div><p style="text-align: left;"><font class="Apple-style-span" color="#050505" face="Arial"><span class="Apple-style-span" style="font-size: medium;"><font class="Apple-style-span" color="#050505" face="Arial"><img alt="" src="http://storage.ning.com/topology/rest/1.0/file/get/1057938021?profile=original"></img></font></span></font></p>
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<div><p style="text-align: left;"><font class="Apple-style-span" color="#050505" face="Arial"><span class="Apple-style-span" style="font-size: medium;"><font class="Apple-style-span" color="#050505" face="Arial"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1057938021?profile=original" alt=""/></font></span></font></p>
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<font class="Apple-style-span" color="#050505" face="Arial">When I was in Boston in August, I visited the Institute of Contemporary Art and saw Charles LeDray's workworkworkworkwork exhibition <a href="http://www.icaboston.org/exhibitions/onview/">http://www.icaboston.org/exhibitions/onview/</a>. </font><div><font class="Apple-style-span" color="#050505" face="Arial"><span class="Apple-style-span" style="font-size: medium;"><br/></span></font></div>
<div><font class="Apple-style-span" color="#050505" face="Arial"><span class="Apple-style-span" style="font-size: medium;">If you're interested in the power of scale, this is the show for you. For over 20 years, the New York-based LeDray has created handmade sculptures in stitched fabric, carved bone, and wheel-thrown clay. He fashions smaller-than-life men's suits, ties, and hats, as well as scaled-down chests of drawers, doors, thousands of unique, thimble-sized clay vessels, and even stuffed animals. </span></font><div><font class="Apple-style-span" color="#050505" face="Arial"><span class="Apple-style-span" style="font-size: medium;"><br/>Sometimes these are shown as single objects and sometimes as part of a larger piece. The exhibition gathers approximately 50 sculptures and installations, including the premiere of Throwing Shadows (2008-2010), an extraordinary ceramic work composed of more than 3,000 vessels made of black porcelain, each less than two inches tall. </span></font></div>
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<div><font class="Apple-style-span" color="#050505" face="Arial"><span class="Apple-style-span" style="font-size: medium;">As a ceramicist, I was drawn to the show by the promise of miniature pots, but once there, I was even more fascinated by the evocative quality of the installations, especially Men's Suits (2006-2009), his highly acclaimed project made up of three complex, small-scale vignettes of second-hand clothing shops.</span></font></div>
<div><font class="Apple-style-span" color="#050505" face="Arial"><span class="Apple-style-span" style="font-size: medium;"><br/> CHARLES LEDRAY: workworkworkworkwork is at the ICA in Boston until October 17 and will travel to the Whitney Museum of American Art, New York, and the Museum of Fine Arts, Houston.</span></font><br/><p></p>
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<div><p style="text-align: left;"><font class="Apple-style-span" color="#050505" face="Arial"><span class="Apple-style-span" style="font-size: medium;"><img src="http://storage.ning.com/topology/rest/1.0/file/get/1057938339?profile=original" alt=""/></span></font></p>
<p style="text-align: left;"><font class="Apple-style-span" color="#050505" face="Arial"><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="color: rgb(0, 0, 0); font-family: Arial, Helvetica, sans-serif; font-size: 11px; line-height: 15px;">Courtesy of the artist and Sperone Westwater, New York. Photo: John Kennard.</span></span></font></p>
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