Archive for the ‘Not About Seagrove Pottery’ Category

Vista Studios in Columbia, SC, Features an Exhibit of Clay Sculptures

Thursday, August 26th, 2010

Just another posting about an exhibit proving this blog’s feet are firmly placed in clay or something like that. Of course we have plenty more like this at Carolina Arts Online.

Here it goes:

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Vista Studios in Columbia, SC, will present the exhibit, Clay Works 2010, featuring clay sculptures by Sandra Carr, Rita Ruth Cockrell, and Richard Lund, on view in Gallery 80808 from Sept. 16 – 21, 2010.

The Carolinas have a long history and tradition of artists who work with clay. This exhibition features works by three contemporary artists who live and work in South Carolina.

Each of the artist use clay as a sculpting medium. Rather than make functional pieces, they use clay as a medium for personal expression. Each has a distinctive style. They create sculptures with conceptual meaning, taking the viewer past the decorative to a more emotional experience.

Sandra Carr has the following to say about her work, “Clay represents healing for me as an artist. It has been forgiving, stable and has the capacity to change when altered by outside influences. All characteristics I admire and strive for. Sculpting figurative pieces allows me to tell a story in my work or communicate a feeling. It speaks for me when I choose not to.”

Rita Ruth Cockrell offered this statement, “Born and raised in South Carolina, I love this place, every road side weed, every red clay road, leopard clay bank, shadow of white sand. After traumatic events with myself, my mother and authorities, I began working in any medium that came my way, always going toward the inside to go outside. Believing that if I can be good enough, some aspect of truth or beauty would help me understand that even if I can’t get there, the glimmering of the source comforts me”.

Richard Lund has this to say, “I moved to Columbia South Carolina two and a half years ago. Shortly after I arrived I joined the City of Columbia Arts Center studio which began my working with clay. I have been an artist many years creating paintings, photographs and sculptures but clay was a new exciting medium for me. Sculpting in clay offers me a seductive tactile experience that other mediums can not give. As I mold, move and pinch the clay with my hands it allows me to easily release my ever changing imagination and ideas realizing them in three dimensions.

For further information call the Studios at  803/252-6134 or visit (www.gallery80808vistastudios.com).

Arts and Heritage Center in North Augusta, SC, Features Clay in A Can, on View Sept. 14 – Nov. 13, 2010

Monday, August 23rd, 2010

This can be considered another in our series of reporting on clay exhibits taking place in the Carolinas, although this notice came from an area we don’t often hear from much – North Augusta, SC. Border towns in South Carolina like to think of themselves as part of bigger cities close to them. North Augusta is more akin to Augusta, GA – they share names. Hilton Head, SC, likes to associate itself with Savannah, GA. Rock Hill, SC, likes to think of itself as part of metropolitan Charlotte, NC.

Actually, this notice came from someone in Augusta, GA, as this event is part of a festival in GA, but that’s OK – the exhibit is still taking place in SC. And, it’s not often you’ll be able to see a show like this with works from across the country. They may be small works but many are made by big names in the pottery world.

Here it is:

The Arts and Heritage Center in North Augusta, SC, will present the invitational traveling exhibit, Clay in A Can,  featuring works by members of the Clay Artists of the Southeast (CASE) including nationally known potters Joe Bova, Anna Calluori Holcombe, Sylvia Hyman, Val Cushing, Don Reitz, Nancy Selvin, Richard Shaw, Victor Spinski, Jack Troy, and Bill van Gilder, among others.

The exhibit, part of the Westobou Festival in Augusta, GA, will be on view from Sept. 14 – Nov. 13, 2010. The sixty-one invitational works will range from utilitarian pottery to inventive clay sculpture. Any piece must fit into a one-gallon paint can. The maximum size must be 6-inch by 5-inch by 5-inch. Each piece will be presented on top of the paint can. All works will be for sale.

Potters participating in this exhibit include: Peter Alsen, Idleyld Park, OR; Carolyn P. (Pearl) Bailie, Augusta, GA; Ann Baker, Aiken, SC; Douglas Baldwin, Missoula, MT; Alice Ballard, (Munn), Greenville, SC; Elizabeth M. Barnes, N. Augusta, SC; Jeanne Bisson, Washington, VT; Betsy Borgatti, Martinez, GA; Joe Bova, Santa Fe, NM; Eric Carlin, North Augusta, SC; Janine Cawthorne, North Augusta, SC; Val Cushing, Alfred Station, NY; Cheryl Dean, North Augusta, SC; Carissa Doying, North Augusta, SC; Aubrey Desportes, Gilbert, SC; Cecelia Desportes, Gilbert, SC; CP.  Dunbar, Leesville, SC; Christy Dunbar, Leesville, SC; Sarah Barney Fletcher, Augusta, GA; Rosemary Forrest, Augusta, GA; Wade Franklin, Midville, GA; Annette Gates, Athens, GA; Donna Hallman, North Augusta, SC; Lisa D. Hatch, North Augusta, SC; Steven Hill, Sandwich, IL; Anna Calluori Holcombe,Gainesville, FL; Richard Holt, Baltimore, MD; Bill Hunt, Delaware, OH; Sylvia Hyman, Nashville, TN; Marsha Johnson, Aiken, SC; Christy Knox, Cummington, MA; Eva Kwong, Kent, OH; Elena Sonbok Lee, San Diego, CA; Frank E. Lustig, Aiken, SC; Kayrene Lyon, North Augusta, SC; Kirk Mangus, Kent, OH; Nick Mason, Mt. Vernon, IN; Jennifer McCurdy, Vineyard Haven, MA; Katy McDougal, Atlanta, GA; Richard Nickel, Norfolk, VA; Lisa Orr, Austin, TX; David Otis, East Jordan, MI; Neil Patterson, Philadelphia, PA; Sandi Pierantozzi, Philadelphia, PA; Barbara Powell, Lincolnton, GA; Don Reitz, Clarkdale, AZ; Elizabeth Reynolds, North Augusta, SC; Andy Rogers, Maryville, MO; Tierney Rollins, Augusta, GA; Renee Rouillier, Columbia, SC; Lisa Scroggins, Ridgefield, CT; Barbara Sebastian, San Francisco, CA; Nancy Selvin, Berkeley, CA; Richard Shaw, Fairfax, CA; Victor Spinski, Newark, DE; Tom Supensky, Aiken SC; Leslie Thompson, Oak View, CA; Ikuzi Teraki, Washington, VT; Jack Troy, Huntingdon, PA; Bill van Gilder, Gapland, MD; and Dianne White, Lincolnton GA.

The exhibition is testimony to the versatile nature of clay and those persons who have chosen ceramics as their means of aesthetic expression. Each piece is an individual, one-of-a-kind work of art. The artists represent twenty-three states, from Oregon to Florida and Arizona to Vermont. Their educational and social backgrounds are as diverse as the clay objects they produce. The methods, techniques, materials and tools used cover the gamut of ceramic practice.

Please examine each work carefully and witness the fine quality as well as the creative response to a wide variety of forms and topics. Some of the pieces are humorous while others more conceptual. You will find examples of excellent craftsmanship all tied to the broad concept of clay in a can. The exhibition is partly funded by a grant from the Porter Fleming Foundation.

The Westobou Festival, designed to celebrate excellence in the arts, features a variety of performances and exhibitions by local, regional, and nationally-recognized artists, primarily in the disciplines of dance, music, theater, and visual arts. Each day and evening of the 10-day festival will be filled with a variety of performances and exhibitions designed to dazzle visitors and showcase our area’s wealth of artistic talent. Whether your passion is contemporary theatrical performances or traditional symphony events, strolling through gallery exhibitions or listening to jazz, you’ll find it all – and more – at the 2010 Westobou Festival!

The Arts and Heritage Center is located at 100 Georgia Ave., at intersection of Georgia Avenue and Center Street in North Augusta. There is an admission charge and hours at the Center are: Tue.-Sat., 10am-4pm.

For further information contact the Center by calling 803/441-4380 or visit (www.artsandheritagecenter.com).

Editor’s Note: This same exhibit will take place at the Aiken Center for the Arts, in Aiken, SC, from Jan. 6 – 27, 2011. Art venues interested in hosting this unique exhibit should contact Tom Supensky by calling 803/641-6811 or e-mailing to (supensky@gforcecable.com).

Joseph Sand Pottery Holds Inaugural Kiln Opening in Randleman, NC – Aug. 21 & 22, 2010

Friday, July 30th, 2010

It’s nice to see that Carolina potters are picking up on the fact thatCarolina Arts Unleashed is a good place to plug their events. I received such a request from Joseph Sand, a transplant from southern Minnesota, who has now planted his roots in the good soil of Randleman, NC, after completing a 3 1/2 year apprenticeship with Mark Hewitt in Pittsboro, NC. That’s a nice entry to have on your resume. Don’t forget you can find lots of info about what’s going on now and in the future at Carolina Arts Online.

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Joseph Sand with a very big pot

Sand and his wife Amanda, who helps put together jewelry pieces made from clay, have set up operations in Randleman, building his kiln – which you can follow the history of that operation in photos on their blog found at (www.sandceramics.blogspot.com). It’s an impressive kiln – a 40-foot anagama kiln. In the firing, he will have pots ranging from mugs to 5 1/2 foot tall jars, all wood-fired and salt glazed.

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Looks like a beached whale

The kiln opening and sale takes place on Sat., Aug. 21, 2010, from 9am to 5pm and Sun., Aug. 22, 2010, from noon to 5pm. Google Maps can help you along your way.

Joseph Sand Pottery is located at 2555 George York Road in Randleman, NC. For further info call 612/518-4051, e-mail at (joseph@jsspottery.com) and on the web at (www.jsspottery.com).

West Lincoln Middle School in Lincolnton, NC, Calls for Potters for Tradition Turners Pottery Festival

Wednesday, June 16th, 2010

This press release came to us at Carolina Arts in the middle of the Spoleto/Piccolo Festival scramble and I put it in a place where I could deal with it later. My mistake. I just found it and I already cost early applicants a discount on their fee. My bad. Especially when I’m trying to pay special attention to all things involving clay.

Here it is – better later than never:

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The West Lincoln Middle School and TTPFC organizers are proud to announce the first Tradition Turners Pottery Festival to be held on Saturday, Oct. 9, 2010. The festival will be held indoors at West Lincoln Middle School, 260 Shoal Road, (just off Hwy. 27), in Lincolnton, NC (Vale community). The Gym and Cafeteria areas have been reserved for this event. The show times will be from 10am until 4pm. This is a great opportunity to help the school, as well as give the area’s many talented potters a venue to showcase in October.

Proceeds will go to the WLMS Student Involvement and Instruction Fund. We are currently accepting applications for pottery vendors. We are offering a 10X10 booth space for a fee of $75. Electricity will be available for an additional $10 (limited basis). You must note on your application if you need electricity so you can be assigned a booth with electrical access. You can request an application by e-mailing to (TraditionTurnersFestival@charter.net).

The day of the Festival, we will have a booklet for the patrons listing everyone involved with this event, including biographies of the potters exhibiting. We are very excited about this festival and anticipate a wonderful turn out for both vendors and shoppers!

Please return your applications (available at www.TraditionTurnersPotteryFestival.com) soon as spaces will be assigned in order received (and with regards to electricity).

If you have any questions please e-mail us at (TraditionTurnersFestival@charter.net) or visit (www.TraditionTurnersPotteryFestival.com).

White Oak Pottery Spring Show & Sale Takes Place May 1, 2010, in Durham, NC

Sunday, April 25th, 2010

Carolina Arts received some more news about Spring pottery events – this time in Durham, NC.

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On Saturday, May , 2010, from 9am to 4pm, White Oak Pottery located at 3915 Rivermont Road in Durham will host its Spring Show & Sale, featuring works by Julie Olson of White Oak Pottery, pottery by Bruce Gholson and Samantha Henneke of Bulldog Pottery of Seagrove, NC, mixed media by Addison and Eric Paige of Raven Rock Artworks of Holly Springs, NC, baskets by Bev Nagy of Charlotte, NC, and pottery by Terry Gess of Bakersville, NC.

They will be raffling off pieces of “art”, one from each participant, to benefit the Independent Animal Rescue of Durham, NC. The Rescue staff will be on hand with a variety of pets available for adoption!

Raffle tickets will be for $5 each (with a limit of 50 tickets sold per piece of art) Tickets will be sold during the show with the drawing to be held at 4pm. You need not be present to win.

Artist Demonstrations include:
Julie Olson will be demonstrating throwing from 10am-11am.
Bev Nagy will be demonstrating basketry from 1pm-2pm.
Lisa Brown will be demonstrating throwing from 2pm-3pm.

For further information call White Oak Pottery at 919/309-4747.

Michael Kline’s Spring Kiln Opening Takes Place Saturday, May 8, 2010

Friday, April 23rd, 2010

Yes, Michael Kline’s Spring kiln opening takes place Saturday, May 8, 2010, from 9am – 5pm, at Kline Pottery located at 4062 Snow Creek Road in Bakersville, NC. But, before we get to that…

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I first met Michael Kline through his blog, Sawdust & Dirt, News from the pottery shop of Michael Kline, during the effort to save the NC Pottery Center in Seagrove, NC. Kline was one of the blogging potters helping to spread the news about the effort to save the NCPC. And, then I met him, in person, during the first “Cousins in Clay” event held last year and again this year, at Bulldog Pottery in Seagrove. He is a model of a socially networking artist, talented potter, skillful teacher through his blog, and nice guy – an important factor in my book.

Our first conversation centered on two basic themes: how do we turn this blogging thing into something that is financially beneficial – for him selling more pottery and for me gaining new audiences for our supporters (advertisers), as well as the paper in general, and second, expanding my coverage of the effort to save the NC Pottery Center and highlighting Seagrove pottery to other pottery areas around the Carolinas. That conversation was the inspiration for our Blog Category – Not About Seagrove Pottery – a sort of inside joke about my focus on Seagrove.

As of today, the count for entries for the Not About Seagrove Pottery is (25 including this one) and the count for About Seagrove Pottery is (27), but it should be noted that some of those 27 also share the Not About Seagrove Pottery category, so we might be closer to even. But I’ll take this moment to say that we need to hear from those folks in the greater pottery community of the Carolinas outside of Seagrove and I don’t want anyone to take their eyes and ears off the NC Pottery Center – it still needs all our support to keep the doors open and expand its offerings. They are not out of the woods yet and may never be in this economic climate.

OK, here’s a bit of info about the kiln opening I found on Kline’s FaceBook page:

Please join us in our first annual Spring kiln opening with over 400 new pots from the kiln to add to your collection!

Get away to the mountains where the landscape will be bursting with the bright colors of fresh flowers, green leaves and the thick carpet of new grass! Take a deep breath of the clean mountain air and take in the beautiful vistas from the front porch steps of the pottery. The lawn will be filled with new pots!

There will be a preview on the evening of May 7, 2010, where you can browse the entire collection and enjoy the company of other collectors with refreshments.

On Saturday morning the sale begins at 9am and continues until 5pm or until the pots last. Come early to get the pots you like!

Visit the website to join the mailing list and receive announcements via e-mail or regular post.

Back to me – Kline is also a member of the Potters of the Roan group. I found this description on that website which also highlights and makes links to the other members.

Roan Mountain is one of the highest and most beautiful portions of the Appalachian Mountains. It is also home to the Potters of the Roan, a guild of nationally recognized as well as emerging professional potters who have formed a guild to share resources and promote our work. Connected by geography, creative commonalities, and friendship, the Potters of the Roan represent a rich diversity of styles and talents. Our studios are open to the public year round and surrounded by the breathtaking natural beauty of Roan Mountain – famous for its vast views, extensive balds, and natural rhododendron gardens. We invite you to travel the scenic roads of Roan Mountain, visit our studios, and experience the unique landscape that inspires our work.

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Go to Kline’s kiln opening, but if you can’t make it, visit his blog – you can buy his works there and if you’re ever in that area of North Carolina – pay him a visit and sit on that porch and find out for yourself that he was telling the truth about those beautiful vistas.

Columbia Museum of Art in Columbia, SC, Features Great Ceramic Works

Sunday, April 18th, 2010

In our continuing effort to bring CAU readers news about events taking place in the Carolina pottery community, I’m scooping Carolina Arts in bringing you this article about an exhibit now on view at the Columbia Museum of Art in Columbia.

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The Columbia Museum of Art in Columbia, SC, will present the exhibit,Innovation and Change: Great Ceramics from the Ceramics Research Center, on view from May 28 through Sept. 5, 2010.

The exhibition highlights 79 masterworks by many of the leading international ceramic artists of our day, offering a panoramic survey of the potential of clay as an expressive art form. The Ceramics Research Center in Arizona contains one of the most exceptional collections of contemporary ceramics in the United States.

The art objects on view range from functional ware for everyday use to more expressive sculptural forms. The exhibition includes featured works by 70 prominent artists including: Rudy Autio (American, 1926-2007), whose highly sculptural works decorated with brightly colored figures earned him the nickname, “the Matisse of ceramics”; Peter Voulkos (American, 1924-2002), one of the early founders of the American ceramic movement, whose ceramic sculptures are famous for their visual weight, their freely formed construction, and their aggressive and energetic decoration; Robert Arneson (American, 1930-1992) – “father of the ceramic Funk Movement” – who in the early 1960s abandoned the traditional manufacture of functional ceramic objects in favor of using everyday objects to make confrontational statements; and Betty Woodman (American, born  1930), who integrates color and form into complex sculpture based on the historical traditions of pottery making, most notably that of ancient China and Italian majolica. One of the most influential ceramic artists of the 20th century, Woodman was recognized for her outstanding contributions to the field and honored as the first living woman artist to have a solo exhibition at the Metropolitan Museum of Art in 2006.

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“The Abstract Expressionist”, 1985
Robert Arneson (1930-1992)

Karen Brosius, the Museum’s executive director says, “The museum is delighted to present this comprehensive exhibition of talented artists that provides the community and our visitors a satisfying discovery and enjoyment of the world of ceramics.”

Some of the artists started their careers when the studio movement in America was in its infancy. After World War II, there was renewed interest in the craft movement, with many universities establishing programs and more museums presenting their work. Influenced by European modernist design, as well as Asian pottery traditions, emerging ceramic pioneers created a new American aesthetic.

During the 1960s, the craft field matured and prospered. Bernard Leach and Shoji Hamada were influential figures in the field, promulgating the value of functional pottery in everyday life. But an American revolution in clay began under the charismatic leadership of Peter Voulkos, who embraced and redefined the potential of clay as an innovative form of contemporary art, which embraced individual expression rather than following the crowd. Rules were broken and a new ceramic frontier was born.

The figure became a prominent foil for artistic expression in clay and witnessed a resurgence of interest in the 1960s, primarily from West Coast artists, including Robert Arneson and Viola Frey. During the 1970s and 1980s, another sea change took place. Many artists began using the vessel format to express painterly concerns or to convey personal stories, either as painted narration on the surface or as fully integrated form and design. With each successive generation, emerging artists have forged a new voice within the ceramic idiom. Borrowing freely from different time epochs and cultures, as well as being more fluid between art mediums, they are not limited by past traditions.

The showing in Columbia is part of a 10-city national tour over a three year period containing 79 ceramic vessels and sculptures from the collection of the Ceramics Research Center, Arizona State University Art Museum. The exhibition was curated by Peter Held, Curator of Ceramics and was developed and managed by Smith Kramer Fine Art Services, an exhibition tour development company in Kansas City, Missouri.

Innovation and Change: Great Ceramics from the Ceramics Research Center has been organized by the Arizona State University Art Museum located near Phoenix in Tempe, AZ.

From June 16 throu September 19,  2010, the Museum will also present,SC6: Six South Carolina Innovators in Clay.

Drawn from public and private collections, six innovative ceramic artists who are, or have been active in South Carolina are featured in this Gallery 15 installation. The works illustrate a diverse range of technique, glazes and forms for which the artists are best known. Featured artists include: Russell Biles, from Greenville, whose figural sculptures are deeply laden with social and political commentary; Jim Connell, whose sinuous vessels are decorated with elaborate glazes, many of which are inspired by ancient Chinese ceramics; Georgia Henrietta Harris, a member of the Catawba Nation, who is largely credited with reviving the Catawba pottery tradition; Peter Lenzo, whose technically complex sculptures recall the 19th century Southern “face jug” tradition yet remain completely unique; Ron Meyers, whose functional ceramics are brightly slip-painted in a gestural, expressionistic style that can be both provocative and confrontational; and Virginia Scotchie, current chair of the ceramics department at USC, who incorporates familiar shapes when creating her vessels that possess complex and luminous glazes.

For further information check our SC Institutional Gallery listings, call the Museum at  803/799-2810 or visit (www.columbiamuseum.org).

SC Arts Commission’s Canvas of the People Grand Tour is Over – Now What?

Thursday, April 15th, 2010

OK, the seven public gatherings of the Canvas of the People 2010 have taken place – plus one special, unannounced, gathering at the recent Arts Alliance Board meeting, and the private gatherings held with community and business leaders in several, if not all the original seven locations – before the general public gathered. Why some folks couldn’t participate like the rest of us in a public forum – I don’t know, but it fits the pattern of secrecy conducted by the Arts Commission. It’s always about not telling the whole story – holding back information.

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We’ve had our say on what’s working in the arts, what our challenges are, and what opportunities lie ahead, but what now?

Of course if you didn’t show up, you can probably still participate by doing the online Canvas survey. Here’s the link (http://www.southcarolinaarts.com/canvas2010/index.shtml). You can also see what others said throughout SC at this link as well – see listings on the left of the page. Of course you won’t see any comments from the private gathering.

We’re not told much about what happens now, but my guess is someone will sort through all the comments in the three categories and pull them together in some kind of report and then distribute that report or at least make it available as a download on the Arts Commission’s website. There you go – problems solved.

Of course we were told at each of the gatherings that this plan for the next ten years was a plan for us – not the Arts Commission – they’ll be doing that later, on their own – behind closed doors.

My guess is that this plan will look a lot like the previous plans – except for the pleas for more funding from somewhere – which doesn’t exist.

So all the calls for working together will fade and the dog eat dog scramble for a bigger slice of the funding pie will resume amongst the non-profits and not much will change.

We’re already seeing the “too big to fail” factor being floated by the Charleston Symphony Orchestra and its supporters (a shrinking number), which has been in financial trouble for ten years, and continues to rob funding from the greater Charleston art community. Giving money to the Orchestra is like stealing funding from the fiscally responsible to give it to the fiscally irresponsible. But the cry to save the “artistic soul of Charleston” drones on at the expense of the other worthy art groups.

From all my years of experience and attending the Canvas of the People process – my advice to the people who attended these meetings is to forget about having the Arts Commission lead you around by the nose and schedule more gatherings of the art community in your area, on a regular basis, for a longer period of time, and work on your own challenges and opportunities. Follow through on what you come up with and you’ll get a lot further along than worrying about the size of the pie you’ll get from the Arts Commission. Who knows your community and its resources better than you?

In my opinion, more would be accomplished if members of the art community gathered at a local watering hole on a regular basis and discussed issues over a few drinks than attending these Canvas gatherings – there will be more pressure to monitor the follow-through on ideas and plans – more accountability. Our art communities don’t need more art walks – they need art talks once a month.

I went to a few of the Canvas gatherings to observe and make a plea for the non-profits to work with the commercial side of the art community – not just look at us as a source for funding and handouts. I also asked why commercial businesses in the arts, who support individual artists, help build audiences, promote the arts, and support the community with taxes – can’t share in applying for funding from the Arts Commission. Some of our ideas might be better that those proposed by some non-profits and might pay off better for the overall art community and community in general. Most of us live in a world where if you can’t pay your bills, you’re out of business – not begging the community for another chance to get your act together. Reality for us is the bottom line and we don’t enter into risky ventures, knowing there is always another funding cycle around the corner. Yet, in our case, when Carolina Arts got into financial troubles when the economy collapsed, we made cuts to the bone, took on personal debt, and we reached out to followers and people responded and helped us survive, but there was no chance for public support – none at all.

So, I hope there are not a lot of folks out there waiting for this final report from the Canvas of the People 2010 to solve their problems. There will be a few who do that, but they are going to be disappointed. Waiting for funding, much less more funding from the SC Arts Commission is futile as long as the State of South Carolina continues to have budget shortfalls. At some point, someone in the SC Legislature is going to be asking – do we need to pay for this big fat bureaucracy of a state agency – why don’t we give our money directly to the counties to decide where it should go in their art communities? At that point, non-profits will discover a pie that is not already half eaten by the time they get to it.

Duke University in Durham, NC, Features Works by Mark Hewitt

Tuesday, March 23rd, 2010

We received a press release about this exhibit at Carolina Arts and although we don’t cover the Durham, NC, visual art scene in the printed version of the paper, we will be posting this article on Carolina Arts Online – where we include all areas of the Carolinas – as long as we receive info by our deadlines. But, since we bring our blog readers a lot of news about pottery exhibits and events I thought we would also include this here.

Here’s the press release:

Duke University in Durham, NC, is presenting the installation, Mark Hewitt: Falling Into Place, on view on the front lawn of the Nasher Museum of Art through Apr. 30, 2010 (although it could last longer).

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The Nasher Museum of Art at Duke University has invited Pittsboro, NC-based potter Mark Hewitt to create an installation of 12 of his large ceramic pots on the museum’s front lawn.

For nearly 30 years, Hewitt has drawn inspiration from Asian and West African ceramics, and the native North Carolina potting traditions of Seagrove, NC, and the Catawba River valley in NC. Hewitt digs the clay, mixes his own glazes and fires in a wood burning kiln on his property. For this installation, the artist selected pots from his own collection, four private collections and the collection of the Cameron Art Museum in Wilmington, NC.

Falling Into Place describes my love affair with North Carolina and its venerable ceramic heritage,”  Hewitt said. “Finding this tradition was a little like an English guitar player discovering the blues.”

The installation was conceived by Sarah Schroth, the Nancy Hanks Senior Curator at the Nasher Museum.

“Mark Hewitt is an internationally renowned potter whose work has been compared to icons, monuments and temples,”  Schroth said. “The huge scale of his work conveys an unmatched mastery of the medium. In this case, we are asking Mark to think like a sculptor. The daring placement of his beautiful pots with their salt glazes and incised patterns will create an organic transition between the museum’s modernist architecture and the surrounding woods.”

Hewitt was born and raised in Stoke-on-Trent, England, and has lived in North Carolina since 1983. He has exhibited in New York, Tokyo and London, and co-curated the exhibition, The Potter’s Eye: Art and Tradition in North Carolina Pottery, at the North Carolina Museum of Art in 2005 in Raleigh, NC.

The exhibition is supported by Marilyn M. Arthur.

For further information check our NC Institutional Gallery listings, call the Museum at 919/684-5135 or visit (www.nasher.duke.edu).

You can view 162 photos taken by Dr. J. Caldwell on the Nasher Museum of Art’s Flicker page at this link. They cover the installation process.

Attention All Face Jug Potters – Lenoir, NC is Calling

Tuesday, February 16th, 2010

We just received this call for entry at Carolina Arts to potters who make face jugs. Spread the word. There’s not much time to act.

The Caldwell Arts Council in Lenoir, NC, is calling all face jug artists!  Plan now to participate in the April 2010 “Any Face Goes” exhibit at the Caldwell Arts Council.  Your whimsical/scary/cute face jugs will be displayed all over the Caldwell Arts Council along with quilts exhibited by Tina Cockerham and Clary Stimson. Please contact the Caldwell Arts Council at 828/754-2486 to register your interest in providing face jugs for this event prior to Feb. 26, 2010.

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“Clown Face” by Jeff Young from the exhibit, Fire in the Valley: Catawba Valley Pottery Then and Now, shown at the NC Pottery Center in 2009.