“Art Pottery and Glass in America, 1880s – 1920s”

| 9/25/15 to 4/24/17

American History Museum
Washington, DC

American potters and glassmakers were at the forefront of producing decorative wares that appealed to the growing market for Arts and Crafts design, popular between 1880 and 1910. This display highlights the design movement that embraced the ideals of superior craftsmanship, naturalistic ornamentation and living with beauty in the home. Among the manufacturers featured are the Steuben Glass Works, Phoenix Glass Company, Rookwood Pottery, Tiffany Glass and Decorating Company, Biloxi Art Pottery, Paul Revere Pottery, and Matt Morgan Art Pottery. –

Functional Ceramics 2017: Exhibition and Workshop (the latter on April 21-22)

, | 3/22/17 to 4/22/17

Wayne Center for the Arts
Wooster, OH

See website for information.


Photo: Matthew Krousey, Bowl, Stoneware –

48th Annual Conference of National Council on Education for the Ceramic Arts: “Future Flux”

| 3/22/17 to 3/25/17

Oregon Convention Center
Portland, OR

As journey’s end for Lewis and Clark in the early 19th century, expedition and discovery have framed our imagination of the Pacific Northwest. As we pass beyond NCECA’s first fifty years, the interconnection of mind, materials, and transformation at the heart of ceramic process, art and education can serve as trail heads to our future. Our creative work in the 21st century increasingly engages with hybrid practices, issues of diversity, notions of community and dynamic change. How will more sustainable models of ceramic art and education continue to evolve? What are the essential competencies and capacities for ceramic artists and educators today and for the future? How can we continue to draw from rich historic traditions while reinvigorating their relevance in rapidly changing global societies? Portland, Oregon, a city of rivers, makers, and entrepreneurs is an ideal vantage point from which to investigate these questions and others. Join us at Future Flux and help transport us to the ways that ceramic art and education will continue to matter. –

“Voulkos: The Breakthrough Years”

| 10/18/16 to 3/15/17

Museum of Arts and Design
New York, NY

Spanning the years 1953–1968, Voulkos: The Breakthrough Years is the first exhibition to focus on the early career of Peter Voulkos, whose radical methods and ideas during this period opened up the possibilities for clay in ways that are still being felt today.

While trained as a traditional potter, Voulkos defied mid-century craft dictums of proper technique and form to completely reinvent his medium. He combined wheel throwing with slab building, traditional glazes with epoxy paint, figuration with abstraction, and made huge ceramic structures with complex internal engineering. The exhibition will feature approximately 31 examples from this crucial body of early work, most of which have not been exhibited on the East Coast for four decades. Also included will be three of the artist's rarely seen works in oil on canvas, which help to demonstrate how Voulkos developed his ideas concurrently in painting, sculpture, and pottery.

Voulkos is a central figure in the history of MAD, featured in numerous exhibitions, including two monographic surveys, and an exemplar of the cross-disciplinary thinking that the Museum supports. Both the exhibition and accompanying scholarly catalogue will provide a detailed account of the breakthrough works from Voulkos' vital period of experimentation.

Voulkos: The Breakthrough Years is co-curated by Andrew Perchuk, Deputy Director of the Getty Research Institute, and Guest Curator Glenn Adamson, with Assistant Curator Barbara Paris Gifford.

Major funding for Voulkos: The Breakthrough Years is provided by the Henry Luce Foundation.

Additional support is generously provided by Nanette L. Laitman, KLM Royal Dutch Airlines, the Stavros Niarchos Foundation, Regina and Marlin Miller, Jun and Ree Kaneko, The Robert Lehman Foundation, Leatrice and Melvin Eagle, Dick and Gloria Anderson, Ted Rowland, the Knafel Family Foundation, and Jeffrey Spahn Gallery.

This project is also supported by an award from the National Endowment for the Arts.

This research was supported by a Craft Research Fund grant from The Center for Craft, Creativity & Design, Inc.

Media Partner: artnet.

Following its run at MAD, Voulkos: The Breakthrough Years will be on view at the Renwick Gallery in Washington, DC, from April 7 through August 20, 2017.

Voulkos: The Breakthrough Years is part of MAD Transformations, a series of six exhibitions that address artists who have transformed and continue to transform our perceptions of traditional craft mediums. MAD’s six fall exhibitions consider fiber, clay, and jewelry & metals, disciplines that were the bedrock of the museum’s founding mission and collection, and that continue to morph in the hands of contemporary artists today. –

“Core Sample”

| 10/28/16 to 3/5/17

Alfred Ceramic Art Museum
Alfred, NY

In celebration of the Alfred Ceramic Art Museum’s move to its magnificent new facility, the Museum will open its doors on October 28, 2016, with an exhibition entitled Core Sample. This exhibition will feature highlights from the permanent collection. A number of these works have not been on view in years. Core Sample is the first of many ambitious projects slated for the museum, which will reveal essential aspects of the Museum's collection as well as chart new directions in ceramic art and scholarship. –

“Recorded Matter: Ceramics in Motion”

| 10/8/16 to 2/26/17

American Museum of Ceramic Art (AMOCA)
Pomona, CA

Recorded Matter: Ceramics in Motion, features twelve, internationally based ceramic artists integrating video into their studio practice. Organized and curated by Garth Johnson, Arizona State University Art Museum Ceramics Research Center Curator.

With the dawn of social media comes a new generation of artists who grasp the power of video not just as a tool to document process, but as an inextricable element of their work. Recorded Matter is an exploration of the range of expression that video offers – from viral videos showing artworks being used (or more often, abused) to mysterious inquiries into material and philosophical properties of clay.

Asked to reflect on the genesis of the exhibition, Johnson remarked, “I honestly don’t think that this exhibition would have happened if it weren’t for social media. A new generation of artists has emerged that innately know how to use video to tell their story.”

Physical objects accompany several of the videos showcased in the exhibition. One of the most powerful examples is Recycled China by Thomas Schmidt and Jeffrey Miller, who are both Americans who taught and made work in China. During their time together in China, Schmidt and Miller started crushing cast-off plates (taken from the virtually limitless supply in the porcelain capitol of Jingdezhen) with a steamroller. The crushed porcelain shards were then taken to an industrial foundry and smothered in molten aluminum. The resulting tiles are both mysterious and ethereal – delicate porcelain shards are suspended like sedimentary rocks in a primal, metallic ooze. The 5-channel video of their process recently helped win a Bronze Prize in the Korean Gyeonggi Ceramic Biennial, perhaps the most prestigious exhibition of its kind. Schmidt is a North Carolina-based artist currently teaching at University of North Carolina, Charlotte. Click here to read a recent article in Ceramics Monthly.

There are other videos that are self-contained. This Amorphous Moment, by Philadelphia-based artist Jason Lee Starin is an extreme close up of pair of hands squeezing and kneading clay, illuminated only by flickering firelight. Without using any narrative structure, Starin’s video conveys the primal qualities that have attracted humans to clay over the millennia.

On the other end of the spectrum is Cheyenne Chapman Rudolph, a Florida-based artist who has connected the rich history of single-function ceramic objects (such as pickle stands and salt cellars) and their modern-day equivalent, the As Seen on TV gadget. For her graduate thesis at University of Florida, Miller created a device to help people in white pantsuits from staining them while eating green peas. The resulting contraption, Center-Peas is accompanied by an infomercial featuring the artist as pitchwoman, out to convince late-night viewers that thanks to Center-Peas, their “pea mess” problems are a thing of the past.

Featured artists include: Jonah Amadeus, Sam Brennan, Forrest Sincoff Gard, Ben Harle, Jo Kamm, Roberto Lugo, Jeffrey Miller and Thomas Schmidt, Cheyenne Chapman Rudolph, Jason Lee Starin, Eva Vogelsang and Man Yau.

This exhibition is supported by the Urban Foundation #4, in the memories of Danny Greenlaw and Brooks Collins. –