Events 2017-08-27T10:26:45+00:00


“Coille Hooven: Tell it by Heart” and “Chris Antemann: Forbidden Fruit”

| 9/22/16 to 2/5/17

Museum of Arts and Design
New York, NY

For over fifty years, Coille Hooven has been working in porcelain and creating psychologically charged sculpture that explores domestic-centered narratives from the kitchen to the bedroom. One of the first ceramists to bring feminist content to clay, Hooven uses porcelain to honor the history of women’s work, confront gendered inequality, and depict the pleasures, fears, and failures of partnering and parenting.

Hooven’s sculptures range from teapots and vessels to figurative busts and dioramas, and they mine the domestic psyche to produce vignettes that resonate with familiarity despite an undisguised use of the fantastical. Developing her own vocabulary of archetypes, she regularly revisits certain creatures and forms: a domestic palette of aprons, pillows, shoes, and pies, as well as a cast of characters that includes mermaids, fish, snakes, and anthropomorphic beasts that appear part-dog, part-horse, and part-human. While these creatures may appear familiar and amiable at first, tension lurks underneath. Recalling fairy tales, fables, and myths, Hooven’s sculptures conjure a vision of the unconscious—both the joy and buoyancy of dreams, as well as the discomfort and despair of anxiety and doubt.

Coille Hooven: Tell It By Heart assembles more than thirty years of Hooven’s work. Hooven studied with David Shaner at the University of Illinois at Urbana-Champaign, and later relocated to Berkeley, California, with her two children. Citing Peter Voulkos and Robert Arneson as influential in her decision to move west, Hooven became part of the Bay Area clay community, where she worked independently from academia and forged a career making both functional pottery and ceramic sculpture. In 1979 she became only the second woman to be in residence at the Kohler Co.’s plant in Kohler, Wisconsin, as part of their renowned Arts/Industry residency program.

Coille Hooven: Tell It By Heart is curated by Shannon R. Stratton, William and Mildred Lasdon Chief Curator, with the support of Curatorial Assistant and Project Manager Angelik Vizcarrondo-Laboy.

Support for Coille Hooven: Tell It By Heart is generously provided by Michele and Marty Cohen, Marge Levy, and Friends of Coille Hooven.

Coille Hooven: Tell It By Heart is part of MAD Transformations, a series of six exhibitions presented this fall that address artists who have transformed and continue to transform our perceptions of traditional craft mediums. Building upon the exhibition Voulkos: The Breakthrough Years, which celebrates the work of an artist known for drastically changing the way clay is categorized as an art material and discipline, the MAD Transformations exhibitions consider fiber, clay, and jewelry and metals—disciplines (along with glass and wood) that compose the bedrock of the Museum of Arts and Design’s founding mission and collection, and that continue to morph in the hands of contemporary artists today. –

“Portals to the Past: British Ceramics 1675-1825” and “Contemporary British Studio Ceramics: The Grainer Collection”

| 9/1/16 to 1/31/17

Mint Museum Randolph
Randolph, NC

The Mint Museum’s collection of eighteenth-century British pottery and porcelain is widely respected for its scope and quality. The collection numbers over 2,000 objects and includes important examples of both salt-glazed and dry-bodied stoneware from Staffordshire; tin-glazed earthenware from Bristol, Liverpool, and London; and cream-colored earthenware from Derbyshire, Staffordshire, and Yorkshire. Notable eighteenth-century porcelain factories represented include Chelsea, Bow, and Vauxhall in London, Longton Hall in Staffordshire, Worcester, Bristol, and others. Individual works in the collection are exceptional because of their rarity, craftsmanship, provenance, or as representative examples of particular types or methods of production or decoration.

British Ceramics 1675–1825 presents more than 200 highlights of this collection in a new installation in the Alexander, Spangler, and Harris Galleries at Mint Museum Randolph. The objects are interpreted through a variety of thematic lenses—function, style, manufacturing technique, maker—to encourage visitors to engage with the objects in ways they find personally meaningful and interesting. The exhibition includes many objects that have never before been on view, as well as contemporaneous works of art in from the Mint’s holdings in other media, including paintings, furniture, fashion, and silver.

The exhibition’s opening follows the December release of a 270-page, illustrated catalogue, British Ceramics 1675–1825: The Mint Museum, produced by the museum in collaboration with D. Giles Limited, London. Both the catalogue and the exhibition honor the fiftieth anniversary of the museum’s purchase of the Delhom Collection of British and European ceramics.

There will also be a Book Club Tour featuring Pride & Prejudice, running September 2016 - January 2017. If you are interested in learning more about the tour please check out Art of Reading: Book Club Tours .

Portals to the Past: British Ceramics 1675–1825 is presented by the Delhom Service League , ceramics affiliate of The Mint Museum. Additional exhibition support generously provided by Moore & Van Allen. Exhibition organized by The Mint Museum.

The catalogue British Ceramics 1675–1825: The Mint Museum was made possible by the Delhom Service League. –

“Cranbrook Ceramics +/- 25 Years”

| to 1/28/17

ASU Art Museum Ceramics Research Center and Brickyard Gallery
Tempe, AZ

Throughout the years, the Cranbrook Academy of Art in Bloomfield Hills, Michigan has made a significant impact in the fields of art, design and architecture. Legendary artists like Maija Grotell, Richard DeVore and Jun Kaneko have all contributed to the ceramics department’s reputation for excellence and innovation. Committed to discussions surrounding material specificity, students are encouraged to look all around themselves for inspiration, technical expertise and dialogue. "Cranbrook Ceramics +/- 25 Years" examines the trajectory and contributions of artists who studied under the guidance of Tony Hepburn and Anders Ruhwald, who have guided the program for the past quarter century.

The 25 participating Cranbrook artists include: Jan Abrams, Inkyo Back, Ariel Brice, Josh Clark, Lindsey Dezman, Abby Donovan, Jessika Edgar, Heather Mae Erickson, Devin Farrand, Jon Geiger, Brian Giniewski, Shannon Goff, Tony Hepburn, Ariel Herwitz, Richard Hesketh, Drew Ippoliti, Tom Lauerman, Jackie Laurita, Akemi Maegawa, YunWook Moon, Thomas Muller, Mia Mulvey, Elaine Ng, Anders Ruhwald and Susan York.

Supported by the Helme Prinzen Endowment. –

“Newcomb Enterprise and Guild: Selected Works from the NAM Collection”

| 9/7/16 to 1/13/17

Newcomb Art Museum of Tulane University
New Orleans, LA

Newcomb Enterprise & Guild

Selected Works from the NAM Collection

  • Works by Sadie Irvine, Esther Huger Elliot, and other Newcomb artists
  • Curated by Tulane University students Charlotte Giroux, Joseph Ramsey, Lauren Victor

The year 1895 marked the birth of two important American art forms in the city of New Orleans: jazz (with the formation of Buddy Bolden’s band) and Newcomb pottery. While lesser known than their musical counterpart, the wares created at Newcomb represent some of the country’s finest expressions of art pottery, highly sought after by private collectors and museums alike.

Like jazz, Newcomb pottery emerged from the distinctive cultural milieu of late nineteenth century New Orleans. All pieces were unique, and design motifs reflected the floral and fauna of the Gulf South.
 Newcomb pottery was sold commercially across the country and exhibited internationally, winning prestigious awards at fairs and expositions the world over.

The school had been founded only nine years prior through an endowment established by Josephine Louise Newcomb in memory of her daughter Sophie. As the first degree-granting coordinate college for women in the United States, the H. Sophie Newcomb Memorial College offered an education both “practical and literary.” The art curriculum, in particular, was unique among art potteries for its underlying utilitarian philosophy: works were to be both beautiful and useful.

The Newcomb Enterprise eventually came to include jewelry (1909), textiles, embroidery, and metalwork (1911), and bookbinding (1913). In all media, women had the opportunity to produce handmade items that gave them professional training and income toward financial self-sufficiency. By the time of its closing in 1940, the program had provided employment to roughly ninety Newcomb graduates, and produced some 70,000 distinct pieces of work.

The Newcomb Guild, created by the Tulane administration in late 1941, preserved many of the enterprise’s original ideals but focused on more basic utilitarian wares with muted glazes, which ultimately proved less commercially viable. The guild closed in 1952, appropriately coinciding with the retirement of one of Newcomb’s longest serving art faculty members, Sarah Agnes Estelle “Sadie” Irvine. One of the exhibition’s three display cases is dedicated to her work. –

“Busbee Legacy: Jugtown & Beyond” and “NC’s Traditional Women Potters”

| 11/12/16 to 4/22/17

North Carolina Pottery Center
Seagrove, NC

The NC Pottery Center is pleased to present The Busbee Legacy marking one hundred years of the Busbees’ influence on our state’s pottery. Jacques and Juliana Busbee introduced classical ceramics from around the world to local Seagrove potters and fundamentally changed how Seagrove pots were designed, made, and marketed. Their new ideas were essential to the survival of Seagrove pottery in the first half of the 20th century and are still relevant to potters and collectors today.

Curated by the North Carolina Pottery Center exhibition committee and friends.

Please join us for the opening reception on Saturday, November 12, 2016, from 5:30-7:30 p.m. The reception is open to the public and free of charge.

This exhibition runs from November 12, 2016 – April 22, 2017.

A catalog will be available for purchase with this exhibition. –