Exhibition: Domestic Design

HOT CLAY presents in Architecture Gallery at the University of Florida Currents: Domestic Design, juried by Heather Mae Erickson. Join us anytime Monday-Friday 9-5PM in the month of May. We are honored to have the work of 34 artists from the USA and Canada represented.
Please see the  exhibition poster below to share!

Also check out and RSVP the facebook page for links to the fabulous artists and updates: https://www.facebook.com/events/616315608521715/

Currents 2016 Domestic Design Poster

Research: Exhibition//Dirt On Delight

JANUARY 16–JUNE 21, 2009

Dirt On Delight: Impulses That Form Clay

Dirt On Delight: Impulses That Form Clay includes significant work in clay by 22 artists spanning four generations on view January 16-June 21, 2009.
Ranging from modestly scaled pots to figurines to large sculptures, these objects cross a spectrum of conventional delineations among fine art, craft, and outsider practices. Collectively, they suggest that clay appeals to basic impulses, starting with the delight of building form, coupled with the anxiety of completion. All of the works in the exhibition appear to be in some state of flux or growth.Clay is a base material. From potsherds to porcelain fixtures, clay is synonymous with the building of industries and cultures. At the same time, its very materiality—its tactile malleability, earthen sensuousness, and humidity—make it the medium of more elemental associations and expressions. The immediacy with which clay allows one to build form and create ornament underlies its appeal—especially in relation to current modes that seem to take fabrication increasingly out of artists’ hands. More specifically, this exhibition is an opportunity to examine not only clay’s appeal, but also craft in general….

http://icaphila.org/exhibitions/1724/dirt-on-delight-impulses-that-form-clay

 

About the Institute of Contemporary Art
Founded in 1963, the Institute of Contemporary Art at the University of Pennsylvania is a leader in the presentation and documentation of contemporary art. Through exhibitions, commissions, educational programs, and publications, ICA invites the public to share in the experience, interpretation and understanding of the work of established and emerging artists.

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AMERICAN CRAFT MAGAZINE OCTOBER/NOVEMBER 2009

Dirt on Delight

The subtitle of the show is borne out through objects that display a primal delight in the innate qualities of clay.

– See more at: http://craftcouncil.org/magazine/article/dirt-delight#sthash.BJsMrXpL.dpuf

http://craftcouncil.org/magazine/article/dirt-delight#

Installation view of "Dirt on Delight" at the Institute of Contemporary Art.

Installation view of “Dirt on Delight” at the Institute of Contemporary Art.

Once you get past the title with its punning reference to clay, perhaps in its Freudian fecal sense, and to scandalous gossip, the most striking thing about “Dirt on Delight: Impulses that Form Clay” is the anti-hierarchical installation of the exhibition. The pattern of display, seemingly as arbitrary as a yard sale, transmits key ideas on an almost subliminal level. Aside from suggesting the characteristics of flux and growth through its branching, fragmented organization, it breezily refuses to tell visitors where or how to look or what to look for. “Dirt on Delight” ignores the wheezy old “sculpture-versus-function” debate that generally dominates the occasional penetration of materials-based art into venues like the University of Pennsylvania’s Institute of Contemporary Art. These overarching choices are not countered by the gallery handout and a brief wall text or by a few artists’ taped responses to the question “How did you come to clay?” (accessible by cell phone and on the Internet). This novel (non)organization is disconcerting to some and liberating for others…

The earliest works, all from around 1900, are mediocre pieces by George Ohr, perhaps the first ceramist to value and preserve through firing those graceful, organically goofy curves and loops that just happen when you work with clay. Ohr’s iconic vessels do not stand out among nearby pieces by artists of subsequent generations, but the grouping encourages consideration on a phenomenological level and suggests affinities that transcend time.

– See more at: http://craftcouncil.org/magazine/article/dirt-delight#sthash.BJsMrXpL.dpuf

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http://noasegal.com/index.php?/minneapolis-walker-art-center/dirt-on-delight-impulses-that-form-clay/

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http://www.nytimes.com/2009/03/20/arts/design/20dirt.html

Exhibition: Perpetuate

We are all first year Graduate students studying in different departments: Painting, Ceramics, Printmaking, Sculpture. This exhibition is the coming together of these mediums all used to explore memory and human interaction hence our title “Perpetuate”.

Please join us at the upcoming WARPhaus Gallery reception for our latest exhibitions entitled ‘Perpetuate’ and ‘Dish.’ The reception is free and open to the public on Saturday, April 4th from 7:00-9:00pm at the WARPhaus Gallery (located at 534 SW 4th Ave in Gainesville, FL). Hope to see you there!

Perpetuateposter

Akiyama Yo at the Harn and University of Florida

Stop by the University of Florida today to see Akiyama Yo (who gave a Gallery Talk yesterday at the Harn about the exhibition “Into the Fold” , pictured below)  demo!!!

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I have taken to taking notes on my phone during artists talks here is what I’ve got….:

Fold to fold: music

Administered contingency in process.
Something that is never created before. Animal and mineral.
There are so many answers and that is the most important part.
When it starts to look like something- I work against it.

It may look like mineral, it may look like plant, but I like my object to exist as it is . You are the interpreter.

Each end is corresponding with each other through the interior.

Does the piece change withing the context of time and space?
Time and space are very important to him.

A record of an imaged past event.
The quality of clay starts changing through the passage of time. Firing means radical change.

Thinking about change- but it probably doesn’t change while we are alive.

(Begun to imagine this piece in parts in storage, made in six pieces. Past but modern.) shift in process. Always needs to think of time and transformation

It is a problem for me that this is in parts. Empty bottom.

Feels like a collapsed esophagus.

Can not survive outdoors.

Exhibition: Into the Fold

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Into the Fold: Contemporary Japanese Ceramics from the Horvitz Collection

October 7, 2014 – July 15, 2016

Into the Fold: Contemporary Japanese Ceramics from the Horvitz Collection highlights the diversity, creativity, and technical virtuosity of 20th- and 21st-century ceramic artists working in Japan.

The exhibition features both artists whose work is inspired by traditional themes and those who work in (or are influenced by aspects of) the avant-garde. Tensions between form and functionality, traditional and modern, national and international are often evident across works in the exhibition and within individual works.

Groupings of objects suggest particular elements associated with the medium’s development, including tea vessels, biomorphic forms, geometric design, monumental and sculptural art, and works that exemplify the Mingei and Sōdeisha movements. More than 30 artists are represented, including many of Japan’s greatest living ceramicists. Among them are historical master potter pioneers such as Hamada Shōji, Kiatoji Rosanjin, Yamada Hikaru, and Kazuo Yagi and contemporary leaders such as Nakaigawa Yuki, Katsumata Chieko, Hoshino Kayoko, and Akiyama Yo.

– See more at: http://harn.ufl.edu/exhibitions/intothefold#sthash.6E8x7Vuu.dpuf