Project Tag: Crystal Morey Past

22
Jan
2020
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Pomona College, Claremont, CA

76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Pomona College, Claremont, CA

ABOUT THE EXHIBITION

76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions

Pomona College, Claremont, CA

January 25 – April 5, 2020

From flowers to fluorescent brains, connections and conflicts in nature and culture are the focus of the Scripps College 76th Ceramic Annual. The longest continuous exhibition of contemporary ceramics in the nation will open on Jan. 25 and continue through Apr. 5. Participating artists include Wesley Anderegg, Richard Burkett, Rebecca Hutchinson, Jeff Irwin, Kate MacDowell, Crystal Morey, James Tisdale, Theodore Vogel, Patti Warashina, Stan Welsh, and Mary Cale. A. Wilson. This exhibition is curated by Joanne Hayakawa, professor emerita at San Diego State University, School of Art and Design.

The artists in this group present some of their most active, and interactive, pieces in this exhibit. Works stand up on their own, hang from the ceiling, or extrude from the wall. In curating the show, Joanne Hayakawa, professor emerita at San Diego State University, School of Art and Design, sought to highlight the dynamism of conflicting elements and the tensions they produce within various contexts.

This exhibition features an illustrated catalog with an essay by art writer Robert L. Pincus.

EVENTS

Lecture: Garth Johnson, Paul Phillips and Sharon Sullivan Curator of Ceramics at the Everson Museum of Art will deliver a special lecture on the show will be held at the Scripps Humanities Auditorium on Sat., Jan. 25th from 4 to 5 pm.

Reception: The opening reception will follow, with live music and light refreshments, at the Williamson Gallery from 7 to 9 pm. These events are free and open to the public.

For more information on the exhibit, please visit rcwg.scrippscollege.edu or call (909) 607-3397.

The gallery is open from 12 to 5 pm, Wed. through Sun. during exhibitions. Admission is free.

More information on Crystal Morey HERE.

76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
Crystal Morey, “Siren: Sierra Nevada Red Fox and Oak” 2019, hand sculpted porcelain, 16.25 x 6.5 x 6”
Crystal Morey, “Siren: Sierra Nevada Red Fox and Oak” 2019, hand sculpted porcelain, 16.25 x 6.5 x 6”
Crystal Morey, “Siren: Sierra Nevada Red Fox and Oak” 2019, hand sculpted porcelain, 16.25 x 6.5 x 6”
Crystal Morey, “Without Borders/ White Rhino Airlift” 2020, hand sculpted porcelain, 16.5 x 13.5 x 10”.
Crystal Morey, “Without Borders/ White Rhino Airlift” 2020, hand sculpted porcelain, 16.5 x 13.5 x 10”.
Crystal Morey, “African Bush Elephant” 2020, hand-sculpted porcelain, 11 x 12.5 x 7″.
Crystal Morey, “African Bush Elephant” 2020, hand-sculpted porcelain, 11 x 12.5 x 7″.
08
Sep
2019
CRYSTAL MOREY: Venus on the Waves

CRYSTAL MOREY: Venus on the Waves

SOLO EXHIBITION

AT FERRIN CONTEMPORARY
North Adams, MA

September 21- November 2nd, 2019

Opening Reception:

Saturday, September 21, 5-7 pm

ABOUT THE EXHIBITION

North Adams, MA —

Ferrin Contemporary is pleased to announce CRYSTAL MOREY: Venus on the Waves, introducing a new series of porcelain sculpture that explores elements of art history and our connection to today’s changing, natural world.

Leslie Ferrin, director Ferrin Contemporary, “We are pleased to present Crystal Morey’s first solo exhibition on the East Coast and the opportunity it provides to share her artwork and learn about her process through a related series of talks and demonstrations. This new series, Venus on the Waves, captures the spirit of a new generation of pop surrealist, figurative artists who use history to inform their practice while adding a contemporary spin by introducing issues relevant to our time.”

As a result of human consumption, climate change, and habitat loss, we are experiencing increased responsibility to care for the living creatures around us. Morey’s delicate porcelain works highlight these precarious connections and our roles as advocates and protectors of our most vulnerable species. Her sculptures narrate the interdependence between humans, plants, and animals while cultivating empathy for our changing world.

Inspired by 18th century European painting, sculpture, and porcelain figurines, Morey’s works in Venus on the Waves combine the decadent and ornate qualities of the Baroque with romanticism of nature. Her emphasis on historical female archetypes and their relationship to the natural world echoes the past while reflecting on today’s environmental challenges.

CRYSTAL MOREY: Venus on the Waves

At Ferrin Contemporary, North Adams, MA | September 21- November 2nd, 2019

Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.
Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.
Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.
Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.
Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.
Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.

Crystal Morey explains, “Venus on the Waves, is a new body of work that weaves the magic, narrative and power of art history with our contemporary environmental issues of today. Through hand sculpted porcelain creations, I am building a connection to the past though the vulnerable creatures and habitats of today.”

Crystal Morey’s ceramic works have been widely featured in publications and exhibitions both nationally and internationally. In 2018, her work was included in Revive, Remix, Respond at The Frick Pittsburgh, PA, in a group exhibition inspired by the Frick’s collection which was co-curated by Dawn Brean and Leslie Ferrin. Her work has been featured in New Age of Ceramics, 500 Figures in Clay, Juxtapoz, Hi-Fructose, American Art Collector, Hey Magazine, Palace Costas, Beautiful Bizarre, and Sculpture Review.  Morey received her BFA in Ceramic Sculpture from the California College of the Arts in 2006 and her MFA in Spatial Art from San Jose State University in 2015, followed by residencies at The LH Project, OR; Watershed Center for the Ceramic Arts, ME; and the Penland School of Craft, NC. She currently lives and works in Oakland, California.

Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".
Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".
Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".

Entangled: Grizzly (Part 1) & (Part 2)

Crystal Morey, "Entangled: Grizzly (Part 2)", 2019, hand-sculpted porcelain, 12.25 x 6.5 x 6.5". Photo by John Polak.
Crystal Morey, "Entangled: Grizzly (Part 2)", 2019, hand-sculpted porcelain, 12.25 x 6.5 x 6.5". Photo by John Polak.
Crystal Morey, "Entangled: Grizzly (Part 2)", 2019, hand-sculpted porcelain, 12.25 x 6.5 x 6.5". Photo by John Polak.
Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".
Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".
Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".

California Bighorn Sheep

Leda and the Swan

Release the Winds

Sea Level Rise in Eden

Three Graces

Venus on the Waves

Venus (After Michelangelo’s David)

PRESS & PROGRAMMING

Visiting Artist Lecture
Wednesday, September 18, 2019, 5:30-6:30pm
Harvard University– Office for the Arts at Harvard, 224 Western Ave, Allston, MA

Click HERE for more about the lecture at Harvard Ceramics.

Click HERE to read the feature in The Berkshire Eagle by Jennifer Huberdeau

Click HERE to learn more about the workshop and events at Project Art, Cummington, MA.

Click HERE to see other works and learn more about Crystal Morey.

Click HERE to inquire about available works for sale.

******

Download Press Release HERE

Crystal Morey in Figural Sculpture: Additive / Subtractive Processes in Porcelain
September 20 – 22, 2019
at PROJECT ART in Cummington, MA

Crystal Morey: Artist Talk
Friday, September 20, 7pm
at PROJECT ART in Cummington, MA

19
Mar
2019
LOOKING WEST at The James J. Hill House in St. Paul, MN

LOOKING WEST at The James J. Hill House in St. Paul, MN

LOOKING WEST

at The James J. Hill House in St. Paul, Minnesota.

March 6th- April 7th, 2019

Reception: March 29th, 6-8pm

A group exhibition exploring themes of the American West through ceramic art

“Early America saw the Mississippi River as its western border. Looking West investigates the history, anthropologies, and landscapes of the American West through ceramic art.”

Within concept and visual, Looking West explores the current conversations taking place in and about the American West. Claytopia, (NCECA 2019 March 27th-30th) will reside on the geographical border of the Mississippi River in Minneapolis, Minnesota the same river that was the United States western border prior to the Louisiana Purchase in 1803.

Located inside the historical James J. Hill House at 240 Summit Ave in Saint Paul, Looking West will respond to the historical and contemporary conversations of the American West, including its traditions, history, landscape and cultural anthropologies. As the viewer walks the home, they are reminded of the vision James J. Hill had for Western Expansion and for the growth of the Great Northern Railway. The diversity of artists included will allow viewers to indulge in a dialogue that presents many various perspectives about what the West is now.

Artist Evan Hauser states, “With the rise of Industrial America comes a threat to wilderness and untouched landscapes. When looking at a National Park such as Yellowstone, we are confronted by land that is supposedly wild and natural. In reality, the lands within the park are somewhat of a construct as the wildlife is managed, fires are suppressed, and designated paths exist for the wandering tourist. This prescribed experience brings a foreseeable encounter that was once otherwise a land of discovery.”

 

ARTISTS:
Dylan Beck,
Jonathan Fitz
Evan Hauser*
Mitch Iburg
Ben Jordan
Dean Leeper
Crystal Morey*
Catherine Schmid-Maybach
Paul Scott *
Jason Walker *
Paige Nicolet Ward

*click to see more by these artists

DOWNLOAD PRESS RELEASE

LOCATION:
240 Summit Ave.
St. Paul, MN 55102

click HERE to inquire about works for sale.

 

 

 

 

 

 

“Looking West” at the James J Hill House, Paul Scott
“Looking West” at the James J Hill House, Paul Scott, 2015
“Looking West” at the James J Hill House, Evan Hauser, 2019.
“Looking West” at the James J Hill House, Evan Hauser, 2019
“Looking West” at the James J Hill House, Jason Walker, 2018.
“Looking West” at the James J Hill House, Jason Walker, 2018.
“Looking West” at the James J Hill House, Paige Nicolet Ward.
“Looking West” at the James J Hill House, Paige Nicolet Ward.
“Looking West” at the James J Hill House, Paige Nicolet Ward.
“Looking West” at the James J Hill House, Crystal Morey, 2019
Paul Scott, “Cumbrian Blue(s), American Scenery, Grain Silo No. 2″, 2015, In-glaze decal, gold luster, J K Meakin ironstone platter c.1850, 13 x 18.25 x 1.75”.
Paul Scott, “Cumbrian Blue(s), American Scenery, Fracked No. 8″, 2015 in-glaze decal collage, gold leaf, T&R Boote Syndenhall Shape, ironstone c. 1850, 16.5 x 11.75 x 1.25”.
Evan Hauser, “Preservation & Use (Buffalo Trail: The Impending Storm, Albert Bierstadt, 1869)” 2019, porcelain, digital ceramic print, gold leaf, 10.5 x 15 x 2.5″.
Evan Hauser, “Preservation & Use (A Storm in the Rocky Mountains, Mt. Rosalie, Albert Bierstadt, 1866)” 2019, porcelain, digital ceramic print, gold leaf, 10.5 x 15 x 2.5″.
Crystal Morey, “Release the Winds” 2019, hand sculpted porcelain, 15 x 7 x 7″.
Crystal Morey, “Release the Winds” 2019, hand sculpted porcelain, 15 x 7 x 7″.
Crystal Morey, “Release the Winds” 2019, hand sculpted porcelain, 15 x 7 x 7″.
Jason Walker, “Osprey” 2018, porcelain, underglaze, luster, concrete, 11 x 14 x 6″.
Jason Walker, “Osprey” 2018, porcelain, underglaze, luster, concrete, 11 x 14 x 6″.
Jason Walker, “Osprey” 2018, porcelain, underglaze, luster, concrete, 11 x 14 x 6″.

 

31
Dec
2017
REVIVE, REMIX, RESPOND

REVIVE, REMIX, RESPOND

THE FRICK PITTSBURGH

7227 Reynolds St., Pittsburgh, PA

February 17–May 27, 2018

ABOUT THE EXHIBITION

In 2017, twenty contemporary artists were invited to respond to and produce new works that reference the art, objects, and social history of The Frick’s collections. 

Many contemporary artists are breathing new life into the ceramic medium by reviving and reinvigorating age-old concepts. This reinvention is distilled into the use of 18th-century processes and techniques to create new motifs and the depiction of stories inspired by history — often with a commentary or critique on modern society.

This topic is particularly relevant to the current state of the ceramics and museum field as it answers the questions of how history meets contemporary. How can artists draw on the rich artistic traditions of ceramic history while reinvigorating their relevance in a society that prizes the contemporary? Likewise, how can museums use contemporary ceramic art to illuminate and reinvigorate historic collections? The Frick Pittsburgh is committed to using the voices and artworks of contemporary artists to meaningfully engage our audience and our collections with issues and ideas relevant to the present day. Revive, Remix, Respond is an exciting opportunity to continue that dialogue.

Organized by Dawn Reid Brean, Associate Curator of Decorative Arts at The Frick Pittsburgh with Leslie Ferrin of Ferrin Contemporary, the museum has invited artists to submit work that is inspired by, responds to, or relates to historic ceramics in The Frick Pittsburgh’s permanent collection. Highlight’s from the museum’s collection include Clayton, the historic Gilded Age home of industrialist and art collector Henry Clay Frick and its impressive array of fine and decorative arts objects; 18th-century Chinese porcelains purchased by Frick from the collection of J. P. Morgan; and 18th-century French painting and decorative arts collected by Frick’s daughter, Helen Clay Frick.

The exhibition will consider the sources of inspiration shaping ceramics today and ways to keep clay vital in museums, schools, and artistic communities. These ideas directly relate to the organizing theme of NCECA 2018, CrossCurrents: Clay and Culture.

INSTALLATION

Revive, Remix, Respond at The Frick Pittsburgh 2018
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh

EXHIBITING ARTISTS

Chris Antemann
Robin Best
Stephen Bowers
Bouke de Vries
Edward Eberle
Evan Hauser
Steven Young Lee
Beth Lipman
Crystal Morey
Kadri Parnamets
Peter Pincus
Kate Roberts
Justin Rothshank
Paul Scott
Cindy Sherman
Caroline Slotte
Dirk Staschke
Mara Superior
Kurt Weiser

PAST PROGRAMMING

Remix Your Friday Exhibition Preview
Friday, February 16, 5:30–7:30pm

Join us for a happy hour in The Frick Art Museum to celebrate the opening of this exhibition, Be among the first to see this unique exhibition, which features work from established and emerging artists. The evening will also feature gallery talks from exhibition curator Dawn Brean and exhibited artist Beth Lipman.

FEATURED WORKS

Robin Best, “The Knight of the Lions,” 2016, porcelain with on-glaze Xin Cai, 14.125 x 7.875 x 10.25″.
Stephen Bowers, “Flowers Fragment” 2018, white earthenware, underglaze colors, glaze, 8.75 x 8.75 x 1.6″.
Bouke de Vries, “Peacock 1″ 2016, twentieth-century Chinese porcelain bird, eighteenth-century Chinese porcelain fragments, mixed media, 24 x 13.5 x 25”.
Edward Eberle, “Subject-Predicate” 2014, porcelain with terra sigilatta, 28 x 13 x 12.5″.
Evan Hasuer, Preservation & Use #3 (Landscape with River, George Hetzel, 1880), 2018, 62 x 42″ x 2.5″.
Steven Young Lee, “Gourd Vases with Dodos” 2018, porcelain, cobalt pigment, glaze, 10 x 19 x 18”.
Beth Lipman, “Swag” 2003, vitreous china, 11 x 36 x 5″.
Crystal Morey, “Entangled Wonders: Across a Divide” 20187, porcelain, 16 x 9 x 9″.
Kadri Pärnamets, “Mining” porcelian, slip, 20.5 x 10.5 x 8″.
Peter Pincus, “Ewer, c. 1893/2018″ 2018, colored porcelain, 13 x 6 x 5”.
Peter Pincus, “Ewer, c. 1893/2018″ 2018, colored porcelain, 13 x 6 x 5”.
Kate Roberts, “Miss Havisham’s Beauty”, 2015, porcelain, 18 x 12 x 12″.
Justin Rothshank, “Andrew Carnegie Platter” 2017, 20 x 20″.
Paul Scott, “Scott’s Cumbrian Blue(s), Milking Time After Anton Maude” 2017, scrennprint (decal) on Portmerion porcelain platter, 13.5”x 9.25” (340mm x 235mm). One of an edition of ten.
Cindy Sherman, “Madame de Pompadour (nee Poisson)” Tureen, 1990, porcelain, 14.5 x 22 x 11.75″.
Caroline Slotte, “Going Blank Again” 2016, reworked second hand ceramics.
Dirk Staschke, “Soliloquy #1″ 2016, ceramic, shim, epoxy, 17 x 20 x 15”.
Mara Superior, “Kangxi Period, Qing Dynasty/ A Collection” 2018, porcelain, underglazes, oxides, glaze, gold leaf, 12.5 x 16 x 2.5″.
Kurt Weiser, “Random House (globe)” 2017, porcelain, glaze, china paint, metal, 30 x 14 x 14″.
08
Oct
2017
THE WOMEN

THE WOMEN

THE WOMEN

Oct 28, 2017 – Apr 21, 2018

Ferrin Contemporary
1315 MASS MoCA Way, North Adams, MA

Click here for details.

Works on view include recent pieces by women whose primary medium is clay and selected works from private and artist archives by female potters and sculptors.

The Women provides Ferrin Contemporary an opportunity to highlight the range of work by women artists affiliated with the gallery program who are known for their work in ceramics.

Director Leslie Ferrin, a life long advocate for women in ceramics reflects on this moment, “It is gratifying to witness the attention to gender issues taking place throughout society.  These same forces are fueling the interest in examining and bringing recognition to the overlooked contributions of women to postwar visual arts. Many of our collectors who brought a female perspective to building their collections are contributing to the public dialog by acquiring new works and making gifts to institutions. Museums are responding by offering exhibition opportunities, site specific commissions and adding to permanent collections to fill in gaps. It is an exciting time to see these changes taking place and being able to participate in the process.”

Ceramic Art and Figural Sculpture

Robin Best
Christie Brown
Caroline Cheng
Cristina Córdova
Claire Curneen
Ruth Duckworth
Viola Frey
Giselle Hicks
Coille McLaughlin Hooven
Crystal Morey
Kadri Pärnamets
Elsa Rady
Caroline Slotte
Mara Superior
Toshiko Takaezu
Susan Thayer
Patti Warashina
Beatrice Wood
Elizabeth (Betty) Woodman

Studio Pottery and Design*
Works by
Laura Andreson
Dorothy Hafner
Karen Karnes
Jenny Mendez
Linda Sikora
*available in Ferrin Contemporary square shop

Robin Best, “The Knight of the Lions,” 2016, porcelain with on-glaze Xin Cai, 14.125 x 7.875 x 10.25″.
Christie Brown, “Ghost Portrait” 2015, ceramic, 19 x 10 x 9″.
Caroline Cheng, “Prosperity V” 2007, porcelain, fabric, 71 x 71″.
Claire Curneen, “Mary Magdalene” 2013, porcelain, gold lustre, 22.5″.
Viola Frey, “Untitled Platter”, 1982, earthenware, slip, glaze, 25″. photo: John Polak (Pennington)
Dorothy Hafner, “Teapot, Sugar, Creamer” 1988, porcelain, underglaze.
Coille Hooven, “Second Skin” 1986, stoneware, 14.75 x 6.5 x 5.5″.
Crystal Morey, “New Symbiosis: Pronghorn” 2017, porcelain, 10.5 x 6 x 4.5″.
Kadri Pärnamets, “Question of Honor — Lucretia, after Lucas Cranach the Elder, porcelain, slip, glaze, 11 x 10.5 x 5”. photo: John Polak
Elsa Rady, “Four Zig Wings”, private collection
Mara Superior, “Mother Nature Says, ‘Wake Up'” 2010, porcelain, glaze, wood, pearls, gold leaf, 17 x 22 x 2″.
Susan Thayer, “Return” 2016, teapot: porcelain, china paint, glazebase: lowfire stoneware, slip, 16 x 9 x 5″.
Patti Warashina, “Beating the Housewife Blues” 1977, white earthenware, glaze, 24 x 16 x 13.75″.
Beatrice Wood, “Not Married” 1965, clay, glaze, 16 x 17 x 13″.
Betty Woodman, “Planter” ceramic, glaze, 27 x 5.5 x 8.5″.
“The Women” at Ferrin Contemporary in North Adams, MA. Work by Beatrice Wood pictured.
“The Women” at Ferrin Contemporary in North Adams, MA. Work by Kadri Pärnamets pictured.
“The Women” at Ferrin Contemporary in North Adams, MA. Work by Mara Superior pictured.
“The Women” at Ferrin Contemporary in North Adams, MA. Work by Mara Superior pictured.
“The Women” at Ferrin Contemporary in North Adams, MA. Work by Robin Best pictured.
“The Women” at Ferrin Contemporary in North Adams, MA. Work by Cristina Córdova pictured.
“The Women” at Ferrin Contemporary in North Adams, MA. Work by Kadri Pärnamets pictured.
“The Women” at Ferrin Contemporary in North Adams, MA. Work by Caroline Slotte and Claire Curneen pictured.

RELATED NEWS, PUBLICATIONS + EVENTS

The Women

The Women

Ferrin Contemporary presents selected works by women artists whose primary medium is clay. On view in the gallery and online, we introduce new works by emerging and established artists along with masterworks available from private collections and artist archives.

READ MORE

STUDIO POTTER: WOMEN IN CERAMICS

Winter/Spring 2017
Women in Ceramics Vol. 45 No. 1

In this issue: nine essays remembering the life of Karen Karnes, a deep investigation of the legacy of women in wood-firing, several narratives about artists’ personal journeys in clay, essays on the lives of California artist Ruth Rippon and Swedish artist Hertha Hillfon, a dynamic discussion of contemporary motherhood, international perspectives from Canada, the United Kingdom, Turkey, and India, a look at fourth-wave feminism, and more.

Click for info on Studio Potter.

Click to request complimentary issue online.

“Ruth Rippon, Her Story”
by Nancy M. Servis

Rippon’s artistic production is extensive and leaves an indelible mark on the artistic landscape of Northern California. … The breadth of her work mirrors the artist herself: technically accomplished, experimental, conceptually grounded, and quietly emotive.

Click here for more.

Artist Salon – Nancy M. Servis
Wednesday, November 8
at 6–8:30 pm

Project Art
54 Main St, Cummington, Massachusetts 01026

Join visiting scholar, Nancy M. Servis, from Sacramento, California, for an image-illustrated presentation ‘State of Clay: Bay Area Ceramics,’ followed by a potluck at Project Art.

From pottery to sculptural expression, Servis unveils the dynamic variety of ceramics found in Northern California. Long recognized as a vital and populous state with extensive clay deposits, California has been the home of refined vessel-makers and artistic rule-breakers for over 75 years, particularly in the San Francisco Bay Area.

Her lecture contextualizes clay’s extensive use that includes stylistic architecture in Oakland, impassioned potters like Antonio Prieto and Marguerite Wildenhain from the 1950s, and unabashed practitioners like Peter Voulkos and Robert Arneson. They along with select others like Viola Frey, Ruth Rippon, and Ron Nagle laid Nancy Servis’ groundwork for what exists today – a population of fine artist-makers whose work coexists with those who embrace sculpture or even defy ceramic tradition.

Nancy is a recognized art historian, gallerist, and author. She has served as curator, educator and arts administrator in the greater San Francisco Bay Area for over twenty years.

Click for facebook page.