Foodscapes: From Seed to Mouth

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Please join me for “Foodscapes: From Seed to Mouth” at UF University Gallery until Friday March 24.

Opening Reception: Thursday March 16, 5:30 -7:30 PM
Artist Talk: Friday March 17, 12-1 PM

This thesis presents gardening, picking food and eating as enjoyable steps towards the reclamation of the food system.

Participants will select and harvest food from the tile based vertical garden with my aid. We will then prepare the items together at the preparation station, talking about the food before us and food in general. Lastly, the participant will choose a plate and sit to dine. These steps are such as to implicate the viewer in a seasonal garden landscape, the labour and bodily engagement of cooking, and a community connection in eating.

Plants, soils and seeds have been dug up from UF Organic Garden Co-OPField and Fork Farm and Gardens ,Swallowtail FarmAlachua County Feed & SeedForage Farm and my home garden.

The Gallery is open:
Tuesday/Wednesday/Friday: 10 AM – 5 PM
Thursday: 10 AM – 7 PM
Saturday: 12 PM – 4 PM

Enjoy!
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MFA Thesis Exhibition: Foodscapes

Foodscapes, Front

Join me for “Foodscapes: From Seed to Mouth” at UF University Gallery March 14-24.

Opening Reception: Thursday March 16, 5:30 -7:30 PM
Artist Talk: Friday March 17, 12-1 PM

This thesis presents gardening, picking food and eating as enjoyable steps towards the reclamation of the food system.

Participants will select and harvest food from the tile based vertical garden with my aid. We will then prepare the items together at the preparation station, talking about the food before us and food in general. Lastly, the participant will choose a plate and sit to dine. These steps are such as to implicate the viewer in a seasonal garden landscape, the labour and bodily engagement of cooking, and a community connection in eating.

Plants, soils and seeds have been dug up from UF Organic Garden Co-OPField and Fork Farm and Gardens ,Swallowtail FarmAlachua County Feed & Seed and my home garden.

Enjoy!

Foodscapes Back

 

Exhibtion: FEAST: RADICAL HOSPITALITY IN CONTEMPORARY ART

I am really excited about this  Chicago exhibition from 2012 Feast: Radical Hospitality in Contemporary Art. 

“Since the 1930s, numerous artists have used the simple act of sharing food and drink to advance aesthetic goals and to foster critical engagement with the culture of their moment.

These artist-orchestrated meals can offer a radical form of hospitality that punctures everyday experience, using the meal as a means to shift perceptions and spark encounters that aren’t always possible in a fast-moving and segmented society.

Feast surveys this practice for the first time, presenting the work of more than thirty artists and artist groups who have transformed the shared meal into a compelling artistic medium. The exhibition examines the history of the artist-orchestrated meal, assessing its roots in early-twentieth century European avant-garde art, its development over the past decades within Western art, and its current global ubiquity.

Through a presentation within the Smart Museum and new commissions in public spaces, the exhibition will introduce new artists and contextualize their work in relation to other influential artists, from the Italian Futurists and Gordon Matta-Clark to Marina Abramović and Rirkrit Tiravanija. Feast addresses the radical hospitality embodied by these artists and the social, commercial, and political structures that surround the experience of eating together.”

Mella Jaarsma, I Eat You Eat Me, 2002, Photographic documentation of a performance in Yogyakarta, Indonesia. Courtesy of the artist.

Mella Jaarsma, I Eat You Eat Me, 2002, Photographic documentation of a performance in Yogyakarta, Indonesia. Courtesy of the artist.

http://smartmuseum.uchicago.edu/exhibitions/feast/


 

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There is a fabulous blog that with videos and interviews from the exhibition: https://blogs.uchicago.edu/feast/

One feature for today is Enemy Kitchen by Michael Rakowitz.

“The dinner must make a decision and perform their ethics.”

Michael Rakowitz talks about serving dinner on flatware looted from the palace of Saddam Hussein.  Paper replicas of these plates are being used by the Enemy Kitchen food truck, now serving Iraqi cuisine on the streets of Chicago.

 

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

Opportunity: Across The Table

NCECA celebrates 50 years of clay, learning and connection in 2016. To foster a sense of community and show links to how our members connect people and ceramics, on this occasion, we have invited Michael Strand and Namita Wiggers to createAcross the Table, Across the Land. Because we also set a gorgeous table in this community, food and the table serve as a link to bring it all together.  NCECA feels that the table is a literal space – and an idea – and we want to hear your stories.

To do this, the curators have developed a web app to make it easy to research how NCECA connects Across the Table and Across the Land.

NCECA is calling on you to participate by sharing projects or taking on the K12 Challenge. We invite responses in the form of your images and your words. This is a collection of your stories. All materials entered into the Across the Table web app become part of this celebratory project.
Michael and Namita are developing this online archive to document what NCECA members are working on right now. From this archive, our guest curators will create an exhibition for the Charlotte Street Foundation in Kansas City, Missouri in conjunction with Makers, Mentors and Milestones, the March 2016 NCECA Conference.

Visit app.ncecaacrossthetable.com/about/ for more information about this project.

Here’s a link to download the webapp http://app.ncecaacrossthetable.com/get-started/

Want more information and background on the project?
(***this is well worth the read!)
Download the Field Guide at http://app.ncecaacrossthetable.com/field-guide/

Ready to share your story? Upload your project on the web-app here http://app.ncecaacrossthetable.com/project-submission/. Look for the + sign in the upper right corner of your screen to add your contributions.

Want to get your K-12 school and students involved? Download the student/parent permission form and Potluck: A Portrait of School Communities through Clay and Food to help guide your lesson plans and teaching.

Questions? Email Michael and Namita at ncecaacrossthetable@gmail.com

Reseach: Nagle & Ohr

Ron Nagle / George Ohr: Look Closer, Look Again

During May and June the George Adams Gallery will exhibit works by Ron Nagle (SF 1938 -) and George Ohr (1857-1918). The exhibition will consist of approximately ten unique ceramic sculptures by each artist, the Nagles dating from 1970 to 2010 and the Ohrs from the turn of the last century.

The exhibition highlights the work of two ceramic artists working 100 years apart who, despite obvious differences, nonetheless share numerous qualities and outlooks. Ohr’s unglazed, folded “bowls” or blister-glazed “pots” are remarkably similar in their ability to invite close scrutiny and appreciation of their complex surfaces as do Nagle’s contemporary works in porcelain. While Ohr ‘s emphasis is on use while Nagle’s is on making a sculptural object, for both carefully controlled color relationships, sculptural forms, and surface modulations are central to their oeuvres.

Ohr, known as the “Mad Potter of Biloxi,” was active from 1883 when he opened his studio in Biloxi, Mississippi, until 1910. He referred to himself as an “art potter” and specialized in both utilitarian and non-utilitarian ceramics notable for their complex glazes and eccentric forms and surfaces.

Ron Nagle, active beginning in the mid 1960s in Los Angeles and later in the Bay Area (he taught at Mills College until recently), was initially associated with the high luster and pristine surfaces of the LA car culture. His works are rarely utilitarian (he is known to make sake cups from time to time), almost always small scale, and in porcelain that require multiple firings to create subtly textured and glazed surfaces.

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