Wednesday, 24 August 2016

call for entry: Ninth Annual Cup Show: Form and Function


Gulf Coast State College Amelia Center Gallery is hosting its annual juried exhibition that explores the idea of the drinking vessel. The focus of the exhibit is on the function and concept of the drinking vessel, including its relation to history, politics, craft, technology, utility, and narrative. It is a survey of the wide variety of approaches to contemporary ceramics through the lens of the most intimate and accessible vessel, the cup. This year the exhibit is part of the National Clay Week http://www.nationalclayweek.org/ and will have an “interactive” component, which will take place on October 11.

Juror : Carole Epp : )


prospectus
application

movie day: Capturing Chaos


Monday, 22 August 2016

call for entry: $10,000 Awards for Emerging Ceramic and Glass Artists (Canada)


Are you an emerging artist? Do you want to develop your artistic practice? We have two opportunities for you!

The Canadian Clay & Glass Gallery is calling for submissions to the 2016 RBC Award for Glass and Winifred Shantz Award for Ceramics.

These prestigious national awards allow practicing early career ceramic and glass artists to undertake a period of independent research, or other activities that advance their artistic and professional practice. The winner of each Award will receive $10,000. The selection is made by a jury comprised of respected contemporary glass and ceramic artists and other arts professionals. Winners will be celebrated and the awards presented at a ceremony in Waterloo, Ontario on November 12, 2016.

To be eligible for the Winifred Shantz Award for Ceramics or the RBC Award for Glass, artists must be Canadian citizens or have Permanent Resident status. They must have developed skills through training and/or practice in the field (not necessarily in academic institutions) and be recognized by other artists working in the same artistic tradition. Successful candidates seek payment for their work and actively practice their art. All applicants have maintained a professional practice for no more than 10 years prior to the date of application.

Application Guidelines:

To download the complete guidelines for the RBC Award for Glass or the Winifred Shantz Award for Ceramics, visit www.theclayandglass.ca/awards. In order to be considered, applications for either award must be received electronically by Monday, September 5, 2016.


About the Awards:

The RBC Award for Glass is supported by RBC as part of the RBC Emerging Artists Project. The Winifred Shantz Award for Ceramics is supported by The Keith and Winifred Shantz Fund for the Arts, held at The Kitchener and Waterloo Community Foundation.

Past recipients of both awards truly represent the best of the emerging ceramic and glass artists in Canada. Alwyn O’Brien of Salt Spring Island, British Columbia was the winner of the 2015 Winifred Shantz Award for Ceramics. Ito Laïla Le François of Rimouski, Quebec was the winner of the 2015 RBC Award for Glass.

logo


Contact Information:

For additional information, contact Andrew Bucsis, Curatorial Assistant at 519-746-1882 ext. 227 or archive@canadianclayandglass.ca

Canadian Clay & Glass Gallery
Galerie canadienne de la Céramique et du Verre
25 Caroline Street North
Waterloo, Ontario N2L 2Y5
519-746-1882
www.theclayandglass.ca

Hours:
Monday to Friday 11 am to 6 pm
Saturday 10 am to 5 pm
Sunday 1 pm to 5 pm

Twitter: @CdnClayandGlass
Facebook: www.facebook.com/theclayandglass

logo

call for submissions: CeramAiR 2017 (in Canada - open to international artists)

DEADLINE TO APPLY: AUGUST 28, 2016



CeramAiR (Ceramics Artist Residency) provides ceramic artists the ability to work in a supportive community environment of like-minded individuals, to share their expertise and vision, to inspire excellence and create work at the highest level in a nurturing and creative environment. The artist is provided with accommodations at the Caetani Centre, and is also provided with use of a shared studio workspace and equipment at the Vernon Community Arts Centre operated by the Arts Council of the North Okanagan.
  • Deadline to Apply: August 28, 2016
  • Successful applicants will be notified September 2016
  • Residency: January 3 – April 13, 2017
  • Solo exhibition: March 28 – April 11, 2017

Click here to find out more...

monday morning eye candy: Perry Haas






Friday, 12 August 2016

grant for artist parents: Sustainable Arts Foundation


The Sustainable Arts Foundation is offering awards of up to US$6000 to writers and artists with children. The money can be used for costs such as child care, workspaces, new equipment, research and travel.
The Sustainable Arts Foundation was founded in 2010 with the aim of encouraging parents to continue pursuing their creative passion, and to rekindle it in those who may have let it slide.
There are two funding rounds each year and typically a total of ten grants are made in each round: five Sustainable Arts Foundation Awards valued at $6000 each and five Sustainable Arts Foundation Promise Awards valued at $2000.
To be eligible to apply for a grant you must have at least one child under the age of 18.  Applicants can be based anywhere in the world and there are no citizenship restrictions.
Writers may apply in one of the following categories:
  • Fiction
  • Creative Nonfiction
  • Poetry
  • Long Form Journalism
  • Playwriting
  • Picture Books
  • Early and Middle Grade Fiction
  • Young Adult Fiction
  • Graphic Novel
Visual artists are also eligible able to apply.
Applicants are advised that for the upcoming funding round the organisers are committed to offering half of its awards to applicants of colour. Further information about this initiative is available on the Foundation’s website.
Applications for the Fall 2016 round close on Friday 2 September. For further information visit the Sustainable Arts Foundation website.
 

Online workshop: Start a Pottery Business

 
You fell in love with ceramics as a hobby, spent years honing you skills and now you are ready to build your own successful ceramics business.
It’s easy to build a successful ceramics business in the beginning. There are few barriers to entry, startup expenses are modest and you can often sell your work with little initial effort. The problems begin when your friends and family have exhausted their immediate need for pottery.
Running a profitable pottery business requires both sound business skills and a high-quality, desirable product line. You have to understand what makes your products unique, and create a plan for creating and selling them at scale. This three-day live online workshop is designed to help you build a successful business designing, producing and selling ceramics.
We have brought together three successful ceramic artists to give you an inside look at how they built their businesses. They will share some of the insights and strategies that made them successful, and answer any questions you have about building your own ceramics business. The program will include one-hour live streamed sessions with Lisa Jones of Pigeontoe Ceramics, Peter Sheldon + Ellen Woglom of Sheldon Ceramics and Lorna Meaden of Lorna Meaden Pottery.
Here are some of the topics we will explore:
– Honing your style and designing products that sell
– Developing a retail business & selling wholesale
– Building a brand & getting press for your work
– Building an audience & selling ceramics online
– Social media for ceramic artists
– Selling in galleries

Monday, 8 August 2016

monday morning eye candy: Jenny Mendes









job posting: Baltimore Clayworks

Baltimore Clayworks is hiring a Studio and Programs Director.  Deadline September 1st.

This position is responsible for overseeing the development and management of Baltimore Clayworks studio and artist programs. This is both a management and administrative position. The position is responsible for supervising the Education Coordinator, Springboard, Residency and Wood Kiln programs and developing and managing onsite programs and classes for adults, and for administering evaluation for such programs, and hiring and managing of teaching artists. The position requires demonstrated abilities to work effectively with a wide variety of people, excellent time and detail management skills, communication skills, and extensive knowledge of and interest in ceramic arts and artist services. This position will ensure Baltimore Clayworks’ studio is functioning at optimal capacity and efficiency.

About the Organization:

As Maryland’s only 501(c)3 non-profit cultural organization dedicated to the ceramic arts, Baltimore Clayworks provides essential programs and services to local, national and international artists, both from its campus in northwest Baltimore and in the community sites throughout the metropolitan area. Currently it operates four essential program areas: education, exhibitions, community arts and artist residency program. Clayworks’ stated core values are artist-centeredness, inclusivity, excellence, integrity and joy. Clayworks’ mission is to develop, promote and sustain an artist-centered community, which provides exceptional artistic, educational and collaborative programs in the ceramic art.
Reporting: Reports to Executive Director, works in collaboration with Facilities Manager

Essential Functions:

Studio Program

  • Oversee Baltimore Clayworks’ Artists program, including designing, developing and supervising the operations of the resident artist and associate artist programs in accordance to the long-term strategic plans in collaboration with Baltimore Clayworks’ Director and the Board of Trustees.
  • Make recommendations for advancement and growth of said program.
  • Provide administrative support to the Studio Program, including overseeing studio and education advertising and rentals, kiln rentals, studio clean up, communication with artists and conflict resolution.
  • Maintain a maximum occupancy in studios at all times in accordance with appropriate review, jury or enrollment procedures.
  • Work with the Executive Director on improving and strengthening jury process, including brainstorming guest jurors, reviewing application process and facilitating jury.
  • In collaboration with Education Coordinator and Facilities Manager, provide thorough orientation to facility, equipment and Baltimore for new resident, fellowship, and teaching artists.
  • Manage Education Coordinator and studio intern.
  • Develop and coordinate (in collaboration with the shop, and exhibition coordinator) visiting artist and other special workshops in conjunction with the adult education program, community arts, exhibitions, and events.
  • Orient artists to Baltimore Clayworks procedures regarding firing kilns, mixing clay, using raw materials, building access, etc.
  • Run annual trainings and refresher for all artists and staff.
  • Work with Facilities Manager to anticipate and oversee all repairs, maintenance, and capital improvements to major equipment and facilities in the education and studio program areas, including electrical, plumbing, structural, etc., with advisement from Executive and Finance Directors, and technical staff.
  • As needed assist with artist recruitment and wood kiln program.
  • Design, develop, manage (in collaboration with community arts and education staff) special education convenings, collaborations and partnerships, conducted both internally and externally.

Education:

  • Provide overall vision and pedagogy for adult education and artist programs. Design adult classes and workshops quarterly (winter/spring/summer/fall sessions).
    Develop recommendations for and oversee actual long-term strategic plans for onsite adult education programs for Baltimore Clayworks, in consultation with Executive Director and Board of Directors.
  • Create annual goals for onsite classes and workshops. Provide reports to director on progress of goals on a quarterly basis.
  • With Baltimore Clayworks Leadership team develop cross-program initiatives and classes.
  • Design, develop and supervise the operations of regular education programs in the Mt. Washington Studio.
  • Supervise Work Exchange Program.
  • In collaboration with Executive Director supervise Education Coordinator and Wood Kiln Manager and meet with staff to set annual goals and facilitate performance reviews.
  • Work with Facilities Manager to upkeep equipment and ensure fully functional studio.
  • Communicate with students and teachers.
  • Program professional development opportunities for students and teachers.
  • Represent Baltimore Clayworks as necessary at conferences, workshops and public events
  • Enforce procedures for student and studio artist access.
  • Coordinate with other Baltimore Clayworks program staff on special events and use of classroom space; maintain schedule for classrooms in coordination with Children’s Program Coordinator and Education Coordinator.
  • Other: Assist with exhibition openings and events; organize and implement workshops and volunteer recruitment for studio clean up and open studio, maintain inventory of tools and clay for re-sale; other duties as assigned.

Qualifications, Attributes and Skills:

  • Strong knowledge and experience in arts education.
  • MFA in ceramic arts or equivalent work experience.
  • Demonstrated leadership capacity.
  • Experience managing the teaching of craft and background in ceramic arts.
  • Excellent communication skills – verbal as well as written
  • Computer knowledge- Microsoft Excel and Word. Prior receipt software and database experience is a plus.
  • Knowledge of 501(c)3 organizations is a plus but not required.
  • Problem solving.
  • Time management.
  • Team player.
  • Demonstrated excellent people skills
  • Must be able to lift and move up to 50lbs.
  • Flexible schedule, some nights and weekends required.
www.baltimoreclayworks.org

Saturday, 6 August 2016

call for submissions: Centre Materia

Deadline: October 15, 2016
This call for proposals is open to professional artists/craftspersons from the province of Quebec, from Canada and from abroad, whose practice is tied to fine crafts through the techniques or material they use. Their works must emerge from significant research and go beyond the traditional functions of the objects. Materia also invites exhibition curators and organisations to submit innovating projects devoted to the advancement of fine crafts.

> About Materia

Content of the proposal for Artists/Craftspersons
  • Project description (500 words max.)
  • Artistic approach (250 words max.)
  • Recent resume (3 pages max.)
  • A visual file including 5 to 10 good-quality recent images (2300-pixel wide min.)
  • A descriptive list of the images (title, date, material, dimensions, photo credit for each piece)
  • Any other relevant document (examples: sketch, technical specifications, press review)

Content of the proposal for Exhibition curators/Organisations
  • Project description (500 words max.)
  • Resume of the curator or the organisation (3 pages max.)
  • Resume of the artists/craftspersons (3 pages max.)
  • A visual file including about 3 images of recent works by each participating artist (2300-pixel wide min.)
  • A descriptive list of the images (title, date, material, dimensions, photo credit for each piece)
  • Any other relevant document (examples: sketch, technical specifications, press review)
General Information 
Clearly identify the category in which you belong: emerging artist, mid-career artist, established artist, exhibition curator or organisation.
Send your proposal by email no later than October 15, 2016, 11:59 p.m., at info@centremateria.com. You will receive an email confirming that your proposal has been successfully submitted. Incomplete proposals or submissions after the deadline will be discarded.

Virtual tour of the exhibition space
Plan of the exhibition space

Selection criteria
  • Technical mastery
  • Innovation
  • Artistic approach
  • Project originality
  • Project relevance
Information: Ève Préfontaine, Coordinator, 418 524-0354 ext. 249

emerging artist: Brian McNamara



Artist Statement:
My current body of work entitled Seven-Sevenfold, focuses on the rocky relationship I’ve built with religion as a means of identity. In constructing a narrative of my life in the Catholic Church as a bleak landscape, I have situated isolated ceramic pieces with desolate ink drawings. My use of clay references the convention of creation myths, such as God creating man from dirt in Genesis 2:7. In this way I act as creator to my own abominations.

My whole life has revolved around storytelling. My favorite stories were alwaysthe ones that were about society and the leaders of society. Stories that have a utopian society broken by a character revealing it as dystopia: such as Ayn Rand’s Anthem and Lois Lowry’s The Giver, even The Bible. I look to these books with a critical eye and place them in the context of my own life to inspire my art, my aesthetics, and my morality. Through these books I’ve learned what it means to find the idea of ‘self’, what it means to experience, and what it means to love.

In the same way storytelling is rooted in folk tradition, I approach my artwork as an adaptation of traditional folk ceramics. I create figures in a gestural way, leaving the mark of my hand and using a loose-hand built method of construction. When thinking of a composition I pull influence from the Muromachi period of Japanese Suibokuga. The loose and gestural scroll drawings provide a much-needed harmony to the rough material and surfaces of the ceramic pieces.

For guidance in the creation of Seven-Sevenfold, I investigated the number seven and its prominence in The Bible. This body of work features seven landscapes to represent a dystopian viewing of the utopia given to the Israelites after the 40 years of wandering mentioned in Deuteronomy; mirrored in this relationship between the abominations and the alien desert landscapes that I created.

Through the lens of the Catholic Church I am that abomination; set out on my journey through the desert to find my utopia, whether or not it exists.