New York, NY
Details & Reflections, Art Sites, Riverhead, NY
Still.Lifes, Art Sites, Riverhead, NY
Temporal: Recent Photographs, Leslie Ferrin Gallery, Pittsfield, MA
Constructing Elozua: A Retrospective 1974-2003, Mint Museum of Art, Charlotte, NC
Music of Abstract Expressionism, Pfizer Gallery, New York, NY
Mixed Marriage Series, Garth Clark Gallery, New York, NY
Demons and Sirens, Habatat-Shaw Gallery, Detroit, MI
Post Industrial Landscapes, Braunstein Gallery, San Francisco, CA
Home Scrap, Sloss Furnaces National Historic Landmark, Birmingham, AL
Home Scrap, University of Arizona Museum of Art, Tucson, AZ
Assemblages of Post-Industrial Landscapes, Cleveland Center for Contemporary Art, Cleveland, OH
Discussion: R.E.A.C., Braunstein Gallery, San Francisco, CA
Home Scrap, Carlo Lamagna Gallery, New York, NY
Memoriam Series, Carlo Lamagna Gallery, New York, NY
Solo Show, Braunstein Gallery, San Francisco, CA
Jericho, O.K. Harris, New York, NY
Solo Show, Dobrick Gallery, Chicago, IL
Fictif, O.K. Harris, New York, NY
Solo Show, O.K. Harris West, Scottsdale, AZ
En Route, O.K. Harris, New York, NY
Souvenir, O.K. Harris, New York, NY
SELECTED GROUP EXHIBITIONS
Eclectic Earth, Schick Gallery, Skidmore College, Saratoga Springs, NY
Recent America Ceramics from the Collection, Daum Museum, Sedalia, MO
Glazed & Diffused, Ferrin Contemporary at 1315 MASS MoCA Way, North Adams, MA
Ghosts of the Catskills, Catskills Art Society, Livingston Manor, NY
Beauty & Decay, Leslie Ferrin Gallery, Pittsfield, MA
The Things Themselves, The Pelham Art Center, Pelham, NY
Re-Objectification: art + object, Leslie Ferrin Gallery, Pittsfield, MA
Teapots: Interpretations, Leslie Ferrin Gallery, Pittsfield, MA
Confrontational Ceramics, Westchester Arts Museum, White Plains, NY
First Jingzhe International Ceramic Exhibition, Wilson Art Center, Shanghai, China
Cheers: A MAD Collection of Goblets, Museum of Arts & Design, New York, NY
Great Pots: The Vessel as Art, 1900-2000, 20th Century Ceramics from the Newark Museum, UBS Art Gallery, New York, NY
Terra Firma: Part 1, Manhattan Beach Creative Arts Center, Long Beach, CA
3rd World Ceramic Biennale, World Ceramic Exposition Foundation, Incheon, Korea
Tea, Anyone?, The Donna Moog Teapot Collection, Racine Art Museum, Racine, WI
Facets of Clays: Clay as a fine art material, Macalester College Art Gallery, Saint Paul, MN
Great Pots: Contemporary Ceramics from Function to Fantasy, Newark Museum, Newark, NJ
American Artists Working in the Realist Tradition, Arkansas Art Center, Little Rock, AR
The Artful Teapot: 20th Century Expressions from the Kamm Collection
COPIA: The American Center for Wine, Food and the Arts-2003
Montgomery Museum of Art, Montgomery, AL-2003
George R. Gardiner Museum of Ceramic Art, Toronto, Canada-2003
Long Beach Museum of Art, Long Beach, CA-2003
Mint Museum of Craft + Design, Charlotte NC-2004
Bellevue Arts Museum, Bellevue, WA-2005
Life Of The City, The Museum Of Modern Art, New York, NY
Selections from the Allan Chasanoff Ceramic Collection, Mint Museum of Craft + Design, Charlotte, NC
Color and Fire: Defining Moments in Studio Ceramics, 1950-2000
Los Angeles County Museum of Art, Los Angeles, CA
Tucson Museum of Art, Tucson, AZ
Kemper Museum of Contemporary Art, Kansas City, KS
Memorial Art Gallery of University of Rochester, Rochester, NY
Confrontational Clay: The Artist as Social Critic
American Craft Museum, New York, NY
University of Central Florida, Orlando, FL
Naples Museum of Art, Naples, FL
The Arkansas Arts Center, Little Rock, AK
Flint Institute of Arts, Flint, MI
The Middlebury College Museum of Art, Middlebury, VT
Springfield Museum of Art, Springfield, OH
Stedman Art Gallery, Camden, NJ
The Lamont Gallery, Exeter, NH
John & Maxine Belger Foundation, Kansas City, MI
Thirteenth San Angelo National Ceramic Competition, San Angelo Museum of Fine Arts, San Angelo, TX
Feats of Clay XIII, Lincoln Arts, Lincoln, CA
Ceramic Still Life: The Common Object, Oliver Art Center, California College of Arts & Crafts, Oakland, CA
Forms and Transformations: Current Expressions in Ceramics, The Queens Borough Public Library Gallery, New York, NY
New York, New York Clay, Nordenfjeldske Kunstindustrimuseum, Trondheim, Norway
Extravagant Teapots, Nancy Margolis Gallery, New York, NY
Recent Sculpture, Habatat-Shaw Gallery, Farmington Hills, MI
Titanic Teapots, Garth Clark Gallery, New York, NY
29th Ceramic National Exhibition, Everson Museum of Art, Syracuse, NY & Newark Museum of Art, Newark, NJ
The Tea Party, American Craft Museum, New York,NY
Transcending Boundaries, Y.W.C.A. Galleries, New York, NY
Steel and Silver: 20th Century Photographs of Industry, Carnegie Museum of Art, Pittsburgh, PA
The Ceramic Still Life, Garth Clark Gallery, New York, NY
4th National Ceramics Invitational Canton Art Institute, Canton, OH
Industrial Romantic, City Gallery of Contemporary Art, Raleigh, NC
Deconstruction, Garth Clark Gallery, New York, NY
Watershed: Fifth Anniversary Wheeler Seidel Gallery, New York, NY
Art and The Law: 15th Annual Exhibition, West Publishing Co., St. Paul MN
American Art Today: The City, Florida International University Art Museum, Miami, FL
American Myths, Procter Art Center, Bard College, Rhinebeck, NY
New Art Forms, Nancy Margolis Gallery, Portland, ME
Art and The Law: 14th Annual Exhibition, West Publishing Co., St. Paul MN
Meditative and Bold, Henry Feiwel Gallery, New York, NY
Facing It: Selections from the Ross Turk Collection, Midwest Museum of Art, Elkhart, IN
Chicago Fire II: Contemporary Ceramics, Lill Street Gallery, Chicago, IL
Forecasts: Visions of Technology in Contemporary Painting, Nerlino Gallery, New York, NY
Rethinking American Myths, Laurence Miller Gallery, New York, NY
Billboards, Littlejohn-Smith Gallery, New York, NY
East Meets West: A National Ceramics Invitational, Hoffman Gallery, Oregon School of Arts & Crafts, Portland, OR
Digs: Archeology and Social Criticism, Chicago Center for Ceramic Art, Chicago, IL
New Year, New Work, Gallery 99, Bay Harbor Islands, FL
The Decay of the Urban Landscape, Jayne Baum Gallery, New York, NY
Shelter, Richmond Art Center, Richmond, VA
Trains and Planes, Jayne Baum Gallery, New York, NY
Clay, Dayton Art Institute, Dayton, OH
Written on Sculpture, Olive Hyde Art Gallery, Fremont, CA
A Passionate Vision: Contemporary Ceramics from the Daniel Jacobs Collection, DeCordova Museum, Lincoln, MA
Clay 1984: A National Survey, Traver Sutton Gallery, Seattle, WA
Brooklyn 1984, Brooklyn Museum, Brooklyn, NY
Anniversary Show, Morgan Gallery, Kansas City, KA
Architectural Images, Garth Clark Gallery, New York, NY
Clay Invitational, Rhode Island School of Design, Museum of Art, Providence, RI
Echoes: Historical References in Contemporary Ceramics, Nelson Atkins Museum of Art, Kansas City, MO
Craft: An Expanding Definition, John Michael Kohler Arts Center, Sheboygan, WI
Ceramics Directions: A Contemporary Overview, State University of New York, Stony Brook Gallery, Stony Brook, NY
Material Illusions/Unlikely Materials, Taft Museum, Cincinnati, OH
Construction Group, San Francisco International Airport Exhibition, San Francisco, CA
Z.O.N.E. Gallery, Springfield, MA
Ben Shahn Gallery, William Paterson College, Wayne, NJ
Clay Today: A Survey, Katonah Gallery, Katonah, NY
Architectural Ceramics: A Documentation, Women’s Interart Center, New York, NY
Clay Spaces; Places, Cooper Lynn Gallery, New York, NY
Sculpture Tricentennial, Philadelphia Art Alliance, Philadelphia, PA
Meyers Gallery, State University College of New York, Plattsburgh, NY
James Madison University Art Gallery, Harrisonburg, VA
Imaginary Civilizations, Tyler School of Art Gallery, Philadelphia, PA
Sixth Anniversary Exhibition, Alternative Museum, New York, NY
New Visions, Aldrich Museum of Contemporary Art, Ridgefield, CT
Artists and Architecture, Rosa Esman Gallery, New York, NY
Painting and Sculpture Today, 1980, Indianapolis Museum of Art, Indianapolis, IN
Architectural Sculpture, Los Angeles Institute of Contemporary Art, Los Angeles, CA
Art of the 70’s – Selections from the Richard Brown Baker Collection, Katonah Gallery, Katonah, NY
Let There Be Light, Experimental Neon Invitational, Alternative Center for International Arts, New York, NY
Two-man Exhibition, Suffolk Community College Art Gallery, Selden, NY
Imaginary Worlds, Rosa Esman Gallery, New York, NY
Message is the Medium: Art Forum and Artists, Project Studios One (P.S.1), Long Island City, NY
Ceramic Conjunction: Sculptural Clay, Long Beach Museum of Art, Long Beach, CA
Clay Manhattan: 6 Urban Ceramicists, Detroit Gallery of Contemporary Crafts, Detroit, MI
Clay Manhattan 1977, Works Craft Gallery, Philadelphia, PA
National Cup Invitational, John Michael Kohler Arts Center, Sheboygan, WI
Ninth Invitational Show, Green Meadow School, Spring Valley, NY
Art, Craft and Process, Spirit of the Earth Gallery, New Hope, PA
Clay Manhattan, The Works Gallery, Philadelphia, PA
Craft as an “Art Form,” Summit Art Center, Summit, NJ
Ceramic Invitational Show, Hunterdon Art Center, Clinton, NJ
Invitational ‘76, Craftsman Gallery, Scarsdale, NY
Invitational Art Show, Gallery One, Poughkeepsie, NY
National Miniature Sculpture Show, University of Texas Art Gallery, Lubbock, TX
Marietta College Crafts National, Marietta College Art Gallery, Marietta, OH
National Ceramic Sculpture Show, Stockton State College Art Gallery, Stockton, NY
Invitational Exhibit, Boston Society of Arts, Boston, MA
1965-69 University of Chicago, Political science, sculpture, and theater
GRANTS AND AWARDS
2015 Virginia A. Groot Foundation Grant: SCULPTURE
1992 Empire State Craft Alliance: CERAMICS
1988 New York Foundation for the Arts Fellowship: CERAMICS
1987 National Endowment for the Arts Fellowship: PAINTING
1981 National Endowment for the Arts Fellowship: SCULPTURE
Institute of International Education, CINTAS Fellowship for the Arts
1980 National Endowment for the Arts Fellowship: SCULPTURE
1977 Artist in Residence, Artpark, Lewiston, New York: “Road Poem,” Photographic Installation
2004 The Allan Chasanoff & Raymon Elozua Amazing Grace Collection donated to Smithsonian, Washington,DC
1979-1999 Consultant and curator for the Allan Chasanoff Ceramic Collection consisting of over 400 pieces of contemporary sculptural and functional ceramics. This collection was donated to the Mint Museum of Craft + Design, Charlotte, NC. An exhibition and catalog were presented in November, 2000.
2009 Empty Promises: Accountability and the MFA Degree, Studio Potter, Vol.37, No.2, Summer/Fall
ART RELATED EXPERIENCE
1975-77 Independent designer and producer of tableware distributed nationwide.
Participation in American Craft Council National Wholesale Fairs: Baltimore, MD and Rhinebeck, NY
1974-75 Designer and photographer: Daniel Nagrin Theatre, Film & Dance Foundation, New York, NY
1971-73 Properties Designer and Fabricator: Juilliard Theater, New York, NY
1968-70 Studio Assistant: Vittore Bocchetta, Sculptor, Chicago, IL
1979-Present Invited lecturer, numerous college Art Departments across the United States
1999 Louisiana State University, Baton Rouge, LA, Artist in Residence, Graduate Department, Sculpture
1982-86 New York University, New York, NY, Faculty, Ceramic Sculpture
1984-85 Pratt Institute of Design, Brooklyn, NY, Faculty, Graduate Department, Ceramic Sculpture
University of Southern Illinois, Carbondale, IL, Artist in Residence
1983 Rhode Island School of Design, Providence, RI, Faculty, Graduate Department, Ceramic Sculpture
California College of Arts and Crafts, Oakland, CA, Faculty, Ceramic Sculpture
1981 New York University at New Paltz, NY, Artist in Residence
1980 Juniata College, Juniata, PA, Artist in Residence
Sarasota School of Visual Arts, Sarasota, FL, Artist in Residence
MUSEUM & CORPORATE COLLECTIONS
Albany Museum of Art, Albany, GA
American Republic Insurance Company, Des Moines, IA
Arizona State Art Museum, Tempe, AZ
Bank of America, Charlotte, NC
Bank of America, San Antonio, TX
Belger Arts Center, Kansas City, MO
Best Products Co., Ashland, VA
Birmingham Museum of Art, Birmingham, AL
Bruce & Barbara Feldacker Labor Arts Collection, University of Missouri, St. Louis, MO
Carnegie Museum of Art, Pittsburgh, PA
Daum Museum of Contemporary Art, Sedalia, MO
Frost Art Museum at Florida International, Miami, FL
Contemporary Art Museum, Honolulu, HI
Cranbrook Academy of Art Museum, Bloomfield Hills, MI
Crocker Art Museum, Sacramento, CA
Daum Museum of Contemporary Art, Sedalia, MO
De Saisset Museum, University of Santa Clara, Santa Clara, CA
Eccles Harrison Museum, Logan State University, Logan, UT
Erie Art Museum, Erie, PA
Everson Museum of Art, Syracuse, NY
Frederick R. Weisman Museum, University of Minnesota, Minneapolis, MN
Long Beach Museum of Art, Long Beach,CA
Los Angeles County Museum of Art, Los Angeles, CA
Mint Museum of Art, Charlotte, NC
Montclair Art Museum, Montclair, NJ
Museum Ludwig, Aachen, West Germany
Museum of Arts + Design, New York, NY (former American Craft Museum)
Museum of Fine Arts, Houston, TX
Ohio Historical Society, Youngstown, OH
Newark Museum, Newark, NJ
Oakland Museum, Oakland, CA
Pfizer Corporation, New York, NY
Progressive Corporation, Pepper Pike, OH
Prudential Insurance Company of America, New York, NY
Racine Art Museum, Racine, WI
San Angelo Museum of Fine Arts, San Angelo, TX
San Francisco Museum of Modern Art, San Francisco, CA
Schein-Joseph International Museum of Ceramic Art, Alfred, NY (former Alfred UniversityMuseum of Ceramic Art)
United Bank of Denver, Denver, CO
Wadsworth Atheneum, Hartford, CT
Washington State Arts Commission, Monroe, WA
World Ceramic Foundation, Korea
J. Manning Winikus Co., New York, NY
World Forestry Center Museum, Portland, OR
West Art Collection at the University of Minnesota, MN
Wilson Art Museum, Shanghai, China
Charles A. Wustum Museum of Fine Arts, Racine, WI
(Photo), Parnassus, Volume 15/No. 1, 1989.
“Portfolio,” Ceramics Monthly, March, 1981.
“Raymon Elozua,” Artes Visuales, (Mexico), February, 1979.
Auer, James. “Kohler’s Crafty Trek Into Our Minds,” The Milwaukee Journal July 17, 1983.
Basquin, Kit. “Craft: An Expanding Definition,” New Art Examiner, Summer, 1983.
Bradley, Laurel. “Raymon Elozua,” Arts, March, 1979.
Brown, Charlotte V. “ Raymon Elozua, Mint Museum of Craft + Design, American Craft. October/November, 2003.
Busch, Akiko. “Raymon Elozua,” American Ceramics, #3, 1987
Conner, Jill, “Golden Clay.” Artnet: www.artnet.com/Magazine, 2003.
Fitzsimmons, James. “Raymon Elozua,” Art International, February, 1979.
Harrison, Helen A. “A Celebration of Ceramics,” New York Times, August 14, 1983.
Haydon, Harold, “Galleries-Review: Dobrick Gallery,” Chicago Sun-Times, February 26, 1982.
Kasson, Joy S., “The Allan Chasanoff Ceramic Collection,” American Craft, August/ September, 2001.
Katz, David. “Billboards,” East Village Eye, March 30, 1980.
Lamagna, Catherine. “Raymon Elozua,” Arts, June, 1979.
Lippard, Lucy. “Battle Cries,” Village Voice, December 4, 1984
Loughran, Patrick. “Balade a New York,” La Revue de la Ceramique et du Ferre, September,1997
Lovelace, Joyce. “The Ubiquitous Teapot,” American Craft, April, 1994
Lubell, Ellen. “Raymon Elozua,” Soho Weekly News, June, 1979.
Mahoney, Robert. “The Decay of the Urban Landscape,” Arts, November, 1986.
Munroe, Eleanor. “Archeo-Art,” Saturday Review, March, 1979.
Patterson, Tom. “Raymon Elozua, Mint Museum of Craft & Art,” American Ceramics, #3, 2004
Ramljak, Suzanne. “Raymon Elozua,” Arts, April, 1988.
Raynor, Vivien. “Clay Vessels and Figures at Katonah,” New York Times, August 29, 1982.
Russell, John. “Raymon Elozua,” New York Times, January, 1979.
Santiago, Chiori. “Still Clay,” American Craft, 1998
Schoder, Martina. “Demons and Sirens,” Neue Keramik, January, 1993
Schwartz, Judith. “Confrontational Clay: The artist as social critic ” Exhibits USA. 2000
Smith, P.C. “Raymon Elozua,” Art In America, November 1988.
Snodgrass, Susan. “Digs: Archeology and Social Criticism,” New York Examiner, January, 1988.
Von Ziegesar, Peter.”Raymon Elozua:Fire and Steel,” American Ceramics, v.11, #3 1994
Watson, Lisa. “ Is the art world ready for computer generated art?” Art Business News, November, 2000.
Wechsler, Susan. “Raymon Elozua,” (interview), American Ceramics, Summer, 1982.
Yau, John. “Raymon Elozua at O.K. Harris,” Art in America, October, 1979.
Zamorano, Antonio Vivas. “ Los Desoladores Paisjes Postindustriels de Raymon Elozua,” Revisia Internacional Ceramica, # 81, 2002.
Ahlander, Leslie Judd, “American Art Today: The City,” Art Museum At Florida International University, 1990. “New Visions,” The Aldrich Museum of Art, Ridgefield, CT, 1981.
Bassett, Hillary D., Judith A. McKenzie, and Robert A. Yassin. “Painting and Sculpture Today,” Indianapolis Museum of Art, Indianapolis, IN, 1980.
Burchett, Debra. “Projects – Architectural Sculpture,” Los Angeles Institute of Contemporary Art, Los Angeles, CA, 1980.
Clark, Garth, “Ceramic Echoes,” The Contemporary Art Society, Nelson Atkins Museum of Art, Kansas City, MO, 1983.
Colp, Norman B. “Let There Be Light,” The Alternative Center for International Arts, Inc., New York, NY, 1979.
DeWitt, Margot and Moss, Marsha. “S/300 Sculpture Tricentennial,” Philadelphia Art Alliance, Philadelphia, PA, 1982.
Friedrich, Maria. “A Passionate Vision,” DeCordova Museum, Lincoln, MA, 1984.
Hallenberg, Heather. “Material Illusions/Unlikely Materials,” Taft Museum, Cincinnati, OH, 1983.
Houk, Pamela. “Clay,” Dayton Art Museum, Dayton, OH, 1985.
Leffingwell, Ed, Melissa G. Post, and Garth Clark, “Constructing Elozua: A Retrospective 1973-2003,” The Mint Museums, Charlotte, NC, 2003.
Levin, Gail. “Forecasts: Visions of Technology,” Nerlino Gallery, New York, NY, 1988.
Lippard, Lucy. “Home Scrap,” Carlo Lamagna Gallery, New York, NY, 1988.
Silkman, Lynne. “Ceramic Directions: A Contemporary Overview,” State University of New York, Stony Brook Gallery, Stony Brook, NY, 1983.
Schwartz, Dr. Judith. “ New York, New York Clay,” Nordenfjeldske Kunstindustrimuseum, Trondheim, Norway, 1996.
Szakacs, Dennis, “Industrial Romantic,” City Gallery of Contemporary Art, Raleigh, NC, 1991.
Adamson, Glenn and Davira Taragin. Tea, Anyone?, The Donna Moog Teapot Collection, Racine Art Museum, Racine, WI, 2003.
Clark, Garth. American Ceramics: 1876 to the Present, Harry N. Abrams, Inc. 1988.
Clark, Garth. The Artful Teapot: 20th Century Expressions from the Kamm Collection, Watson Guptill, 2001.
Dietz, Ulysses Grant. Great Pots: Contemporary ceramics from function to fantasy, Guild Publishing, 2003.
Douglas, Mary A. Allan Chasanoff Ceramic Collection, Mint Museum of Craft +Design, 2000.
Del Vecchio, Mark. Postmodern Ceramics, Thames & Hudson, 2001
Ferrin, Leslie. Teapots Transformed: Exploration of an Object, Guild Publishing, 2000
Harper, Paula. Contemporary Sculpture From the Margulies Collection, 1986.
Lauria, Jo. Color and Fire: Defining Moments in Studio Ceramics, 1950-2000, Los Angeles County Museum of Art + Rizzoli Inc., 2000.
Levin, Elaine. History of American Ceramics, Harry N. Abrams, Inc. 1988.
Petersen, Susan. The Craft and Art of Clay, Simon and Schuster, 1992.
Speight, Charlotte. Images in Clay Sculpture: History and Contemporary Technique, Harper Row, 1983.
Tucker, Ann. Tradition and the Unpredictable, Museum of Fine Arts, Houston, TX. 1994.
Zhou, Guangzhen. American Ceramic Artist Today, The People’s Fine Art Publishing House, Beijing, China, 1998.
These new sculptures are derived from a series of sculptures starting in 1999. They are based on a digital exploration of Abstract Expressionist paintings. Adobe Photoshop was used to separate colored shapes within various paintings created by different artists. A DeKooning painting could be separated into 7 different colors or layers. These colors and their corresponding forms were then modified and manipulated in 3D Studio Max, a CAD software.
The resulting building blocks were then assembled into coherent 3D forms. These prints were used as rough templates to “re-materialize” the digital images into steel and ceramic sculptures. A sculpture now was comprised of the various “sampled” forms and colors from several historical artists.
Working in the ceramic medium, I was always interested in the synthesis of different materials. From 1989 through 2001 I used steel rod combined with 04 terra cotta in my sculpture. The “skeleton” of steel provided a way to utilize clay in a more spatial and gravity defying manner.
The medium of glass was always attractive. In early 2013, I met Lorin Silverman, an expert glassblower with a BFA from Alfred. He then worked for Corning Museum as a resident technician assisting artists to realize their vision.
We researched and developed a way to blow glass into a metal armature. In July 2013, Lorin provided the labor and expertise to make the glass shapes used in this new body of work. Glass is the most difficult medium that I have experienced.
Once the shapes were blown, using CAD drawings, I constructed a steel and wire structure, which was then covered with terra cotta and fired multiple times for color. The glass forms were then independently affixed to the fired sculpture.
The tension between the fractured ceramic with the reflective glass is fascinating, a feeling of beauty born out of decay.
Elozua Awarded Groot Grant
In 2015, Elozua received a Virginia A. Groot Foundation grant for a new body of work. The R&D series of mixed media sculpture incorporates glass, ceramics, and steel. They are an extension of an exploration of Abstract Expressionist painting. Colors and shapes from different paintings were sampled and combined using CAD software to create new combinations. From these designs, welded steel armatures were built and covered with terra cotta and glaze. After firing, blown-glass shapes were affixed to the sculptures. “I find the tension between the fractured ceramic and the reflective glass fascinating. There is a feeling of beauty born out of decay,” said Elozua.