Excellence
Jessica Brandl | Taunt Fellow Ben Carter | Matsutani Fellow Kelsey Duncan | Speyer Fellow Stuart Gair | MJD Fellow Iva Haas | Etchart-Satre Fellow Kelly Stevenson | Quigley-Hiltner Fellow
2018 – 2019 FELLOWSHIPS
at The Archie Bray Foundation
THE ARCHIE BRAY FOUNDATION FOR THE CERAMIC ARTS has always been an ongoing experiment, a place and experience with no artistic boundaries. The extensive facilities, the freedom to explore and the creative exchange that occurs within the community of resident artists provide a profound opportunity for artistic growth, both for individual artists and for the field of ceramics. To further encourage the Bray “experiment,” Robert and Suzanne Taunt established the Taunt Fellowship in 1998. Inspired by the Taunts’ vision and generosity, others have since established additional awards, including the Myhre Fellowship in 1999 and 2000, the Lilian Fellowship in 2001, the Joan Lincoln Fellowship in 2004 (fully endowed in 2014), the Matsutani Fellowship in 2006, the MJD Fellowship in 2007, the Anonymous and Speyer Fellowships in 2011, the Windgate Fellowships in 2012, the Lillstreet Art Center Fellowship in 2014, the Etchart-Satre and Quigley-Hiltner Fellowships in 2016. Each fellowship provides $5,000 and a one-year residency to a ceramic artist who demonstrates exceptional merit and promise, allowing them to focus more completely on producing and exhibiting a significant body of work during their fellowship year. Individuals wishing to establish a fellowship at the Archie Bray Foundation are encouraged to contact Resident Artist Director Steven Young Lee.
INTRODUCTION Annually, the Archie Bray Foundation invites a critic to spend time at the Bray—to meet with the artists, experience the Bray’s unique environment and develop essays for the fellowship exhibition catalog. This year, the residency was awarded to Diane Charnov.
Diane Charnov is the Director of A(rt)SPIRE, an organization dedicated to promoting the arts and partnering with artists and foundations to expand community engagement. She serves on several boards, including the James Renwick Alliance (JRA) and Day Eight in Washington, D.C. as well as the Center for Craft in Asheville, North Carolina. Recently, she was selected by Penland School of Craft for the Winter Residency program in writing, photography and ceramics. Ms. Charnov has written numerous profiles on artists and museum exhibitions with ties to the Archie Bray Foundation, including features on ceramicists Chris Antemann, Beth Cavener and Shae Bishop and reviews of Washington, D.C.’s Renwick Gallery/ Smithsonian museum exhibitions of Burning Man: No Spectators and Voulkos: The Breakthrough Years. Her work appears frequently in the James Renwick Alliance Quarterly, where she is a feature arts writer. In addition, she is a photography instructor on faculty at Maryland’s Glen Echo Photoworks, conducts writing workshops and has exhibited her ceramics and photography nationally. Prior to her focus on the arts, she had an extensive career in the field of international relations, as Director of Trade for the U.S. Chamber of Commerce, researcher at The Brookings Institution and speechwriter for international heads of state and presidential candidates. Ms. Charnov is originally from Michigan, where her passion for the arts was grown by her family and as a student at Kingswood/Cranbrook. She received her B.A. from Stanford University and her M.I.A. (Masters of International Affairs) from Columbia University in New York City.
Jessica Brandl 2018 TAUNT FELLOW
Talk with any ceramicist and you might hear the phrase: “clay has memory.” This dictum refers to a physical property of clay that can result in unexpected shape-shifting and cause a piece to revert to its original form when subjected to firing in a kiln. For Jessica Brandl, who uses powerful imagery to inhabit every corner of her work, the concept of clay having memory holds a more personal meaning. For her, clay becomes a canvas on which she embeds her memories and experiences—a personal archaeological dig. Images of skeletons embracing white picket fences and farmhouses, vacant landscapes and empty soda cans reside on her surfaces. One of her paintings memorializes a chaotic interior, upended chairs scattered about as if one walked into the aftermath of destruction. Recurring themes of vacancy and loss appear, themes that are the backdrops to her life, which includes a deeply personal loss. At 18, Brandl lost both her parents in a motorcycle accident which left her orphaned; this loss came nearly simultaneously with her acceptance into the BFA program at Kansas City Art Institute and prior to her MFA at Ohio State. While her clay surfaces can be partially viewed through this lens of loss, there is much more going on. She is masterful at straddling the line between the personal and the universal and her work leaves room for viewers to imagine their own narratives. Memories of childhood populate her imagery as she recollects moments on her family farm recalling the freedom granted by her parents to roam outdoors, read voraciously and ask endless questions. Her process seems to mimic an archaeological dig. As though uncovering memories lurking beneath the surface, Brandl utilizes sgraffito, a technique of scratching beneath a layer of white slip to unearth the contrasting color of red terracotta clay, enhancing depth and
dimension. Linger over her work and her expertise in drawing is palpable whether revealed by turbulent skies and raging fires or the finely drawn fingers of a skeleton curved to imply an invisible embrace. Haunting beauty is ever-present in her ceramics, a conscious nod to art history and the idea of “Memento Mori,” Latin for “remember you must die.” While decay often takes center stage, in her work beauty co-exists, whether in the almost-effervescent, cascading glazes on her discarded cans (one manufactured form of emptiness) or in the more somber tones and solace of a lone farmhouse. Intricately braided clay handles invite one’s hand to hold while bringing to mind both a love of the West and braided ropes or the care that goes into braiding a child’s hair. Life and death comingle, and Brandl’s sharp-angled, asymmetrical constructions are miniature canvases for her thoughtful ceramic investigations.
Still Life With Cans, 2019, red stoneware, white slip, glaze and sgraffito drawing, 10.5” X 10.5” X 1.5”
“Things find me” is her way of describing how and why her work is richly packed with imagery. Her past and America’s collective history are equally explored, from her works on Manifest Destiny to her use of garbage garlands mined from the sea and surrounding her platters. Despite the maximalism of her imagery, she lives a minimalist-nomadic life. Prior to her time at the Bray she lived, studied and taught across the United States from her Midwestern roots to her East Coast time teaching at Harvard to her travels across the West. Perhaps that contributes to her ability to especially connect with students who have traveled far from home and are disconnected from their roots, their country, their family and friends. As one who has pieced together her childhood, Brandl is uniquely qualified to navigate her past and investigate collective
American issues, from environmental degradation to re-thinking history. This maximalist (of imagery) and nomad (of lifestyle) revels in depositing memories onto her ceramics that the rest of us can admire and ponder as they subtly work their way into our collective consciousness.
Vases, 2019, red stoneware, white slip, glaze and sgraffito drawing, 3.75” X 3.75” X 7” each
House Container, 2019, red stoneware, white slip, glazed and sgraffito drawing, 17” X 10” X 14”
Ben Carter 2018 MATSUTANI FELLOW
“First an artist. Second an educator. Third a podcaster. Fourth an author.” This is how Ben Carter, also known as “The Red Clay Rambler” from his popular Podcast series, categorizes his multiple roles. A self-described “restless introvert,” Carter is also a skilled listener, a powerful tool for a podcaster and a maker who observes, absorbs and channels his experiences into his designs. His work pays homage to his Southern roots yet also resounds with echoes from his peripatetic life. Carter is quick to credit his family and an “all-too rare” Salem, Virginia, high school where the opportunity to take multiple ceramics classes “determined the rest of his life.” From Linda Arbuckle to Lisa Stinson, he praises mentors he encountered during his BFA at Appalachian State and his MFA at the University of Florida. He also pays homage to his family where “work was love.” He was raised to believe that work has value— whether quilting or canning—and to respect materials, no matter how “un-valuable” because “in our family, every nail was saved…you never threw anything away.” It’s not hard to see how these values translate into his pottery, overtly influencing his tufted vessel designs and subtly creating an analogy between textile fragments and the accessibility of relatively inexpensive earthenware. He prefers earthenware to its more refined and expensive porcelain cousin. Like quilting, “the whole is greater than the sum of the parts.” Carter is attentive to form and function, but it is in his surface designs that he achieves layering and depth through his use of white slip covering red earthenware to create decorated surfaces that glisten with dimensionality and beauty. In form he is drawn more to the feminine shape of pots with “broad hips” over “broad shoulders” and his color choices accentuate a natural, earthy palette. He reveals that it is
at the Bray that he wants to “increase the spectrum of color, the intensity of yellow and pops of blue, like a garden in bloom.” For a potter so attached to his heritage he is also adept at integrating global influences. From Salem, Virginia, to Shanghai, China, from Appalachia to Australia, Carter’s global reach informs his designs. As Education Director of an art center in Shanghai for over two years, he spent hours in the Shanghai Museum, awe-struck before scrolls embodying a masterful scale of human forms juxtaposed against vast landscapes. Global influences led to an evolution in his floral motifs. Dogwoods and honeysuckles, native to his upbringing, were altered through his brushstrokes so they could be read as flowers from any region on the globe. Even when rooted in one place, he adds to his binders of inspiration, from Mingei to Majolica, from Turkish Iznik to Peruvian pottery, all to remind him of the international mosaic of design.
Mugs, 2019, terracotta with slips, underglaze and glaze, 4” X 4” X 4.5” each
In Carter’s work, no matter how you turn his alluring pitchers or sensuous and sturdy vases, nature appears in full-bloom, at the height of its potency. These are not early buds on the surface of his sumptuous work, but moments captured before they fade. He has immortalized nature at its peak, but has also subtly unveiled nature’s life cycle, the moment just before the final bend of a fading stem or the ultimate shedding of a last petal. In early artist statements, he explains that his work was partially designed to call people to “sit down and eat together.” Clearly, his seductive work continues to call out, whether to enjoy his pottery at the table, or absent a specific purpose, to follow this Red Clay Rambler as he continues his artistic journey.
Jug, 2018, terracotta with slips, underglaze and glaze, 12” X 7” X 7”
Teapot, 2018, terracotta with slips, underglaze and glaze, 6” X 7” X 6”
Kelsey Duncan 2018 SPEYER FELLOW
For Kelsey Duncan, a self-described “sculptor who works in clay,” the richly adorned surfaces of his near life-sized figurative work immediately grab attention. Silkscreened details of fabric, sensuously sculpted skin folds and tattoos that seem more than skin deep are just a sample of external designs that mesmerize the viewer. While “surface is the access point in my sculptures” Duncan’s toolbox is stocked with another ingredient—empathy, the foundation for his artistic trajectory which enables him to convey the essence of people and feelings through all he makes. Duncan’s concern with socio-political issues, stereotypes, inclusivity and body positivity co-exists with his equally strong sense of joy in making. He exuberantly declares: “I love the material and how much fun I have making the pieces.” This joy carries through even to the element of risk, inherent in the engineering and construction of his near life-size works. For Duncan, “the implied precariousness keeps it fun and makes it scary.” Whether carving, coiling or pushing out clay, he is engaged with endless tests on smaller pieces—his “material investigations.” His shelves are lined with white-gloved ceramic hands, part of his burlesque series. Like his larger work, even these studies with their theatrical gestures play a part in revealing his concern with bodies and the way they function in the world. These are male hands, not the typical white-gloved female hand. Duncan’s work achieves a rare combination of vulnerability, power and approachability no matter the scale. With a BFA from the University of Montana and an MFA from Ohio University, his background includes history and language study, part of the kaleidoscope which informs his work. Raised with a strong work ethic, Duncan held a job at age 14 working with people with developmental disabilities that
played an important role in growing his empathy. Inspiration for his thesis project also stemmed from these teenaged years in a “dystopian conservative place,” which is how he describes the 1990s living in Idaho Falls. His sculptures, based on composites of people, show his deep respect for humanity. For Duncan, it is an attentiveness to small decisions—from how he carves a nose to how he works on wrinkles—that holds the key to imbuing his “people” with dignity. Duncan also brings a directorial eye to his work, much like the stage sets he has created for his installations. From deciding whether to hand paint a tattoo to imply depth or silkscreen it to appear fused onto the skin, every aspect is carefully considered. Scale is one of his “primary tools to dictate the way the audience interacts.” He ponders how a viewer’s experience is altered by looking up at or down upon a piece. In one installation,
Pearl Candor, 2018, stoneware, underglaze, glaze, luster and hand-painted underglaze tattoo, 23” X 14” X 22”
he arranged Clementine (one of his burlesque figures) on a 30-foot gallery catwalk with hand-sewn acoustic velvet curtains, keenly aware of how each decision alters the power structure. In his piece, IF TOWN (based on his time in Idaho Falls), humor and social commentary co-exist. A large chest tattoo is visible beneath the man’s plaid shirt and reads “Justus.” Whether read as “Just” “Us” or a commentary on social “justice,” much is revealed in Duncan’s work and words. As the interview draws to a close, he pulls back the
plastic sheeting encasing his latest sculpture, a woman adorned with an elaborately constructed fruit headdress. He proceeds to politely inquire if it’s alright to take a break and sprays “her” down to keep the clay moist. For an instant, it appears that her smile broadens and she appears to be literally drinking from the spray bottle. His art comes from a great impetus of affection. His sculptural works are monuments or, as he suggests, “anti-monuments” to people who are not much celebrated. In Duncan’s hands, the celebration is apparent and we are all the better for that.
Charmaine, 2019, stoneware, underglaze, glaze and luster, 20” X 29” X 14”
Stuart Gair 2018 MJD FELLOW
How potters find their way to clay is never the same yet always intriguing. Some are mesmerized by a potter’s wheel while others are captivated by a studio art class or random clay encounter. For Stuart Gair, his origin story came as a college junior. A history major seeking employment, he found work as an historic reenactor and production potter in Cuyahoga Valley National Park. A summer of stepping back into the 19th century led him to find his way as a 21st century maker. Gazing upon his studio shelves, one senses a timeless quality to his work, as well as a uniquely personal celebration of form and texture and a way of firing (soda-firing) that pairs perfectly with his love of the outdoors. Thrown and altered five-sided paddled teacups, vases of varying diameters and teapots whose bellies beckon one to the table sit side-by-side. Surfaces with earthen-hued, pitted and gritty textures recall forms from nature, to which he is so strongly connected. Many of his pieces are worked on in a series, like families with common traits but also imbued with a strong individual presence. His work is influenced by the external landscapes he knows and loves. In Nebraska, tilled farm fields etched in his memory work their lines into his cup designs. At the Bray, he points to a lone tree just outside his studio window, its branches silhouetted against the sky, “sitting by itself,” creating shadows against the earth and subtly influencing his design aesthetics. Considerations like “silhouette, buoyancy and craftsmanship” make their way into his thoughts as he ponders another type of landscape: the interior landscape created when objects inhabit space. A functional potter with a B.A. and a B.S from Ohio University and an MFA
from University of Nebraska-Lincoln, Gair cares how a piece functions, but that doesn’t only mean how a spout pours or how a cup fits in your hand. Functionality also refers to an aesthetic role. “How it sits in your home” matters since “pieces are not made to sit in the dark or for the cupboard.” Seemingly contradictory dualities seem to coexist peacefully in his pieces: strength and subtlety; bold silhouettes with graceful curves; quiet, meditative surfaces that erupt with immediacy . . . all culminating in explosions of color and flashpoints that leave the mark of flame. He articulates a viewer’s relationship with a piece which takes on the language of love at first sight. First, you see it from afar, next it’s the silhouette that attracts your attention, and thirdly, it draws you in. His animated description of connectivity through art speaks to his awareness of what goes on in space between viewer and object. As a former Harvard educator, he praises the inquiry from students and the “what if” questions that made him reconsider how his
Yunomi, 2019, soda fired stoneware, 3” X 3” X 3.5”
work relates. Lately, he is on a quest for authenticity. While he admires the cultural legacy of ceramics—from classic Asian ceramic forms to modern Scandinavian designs—he is also seeking to separate admiration for the history of pottery from his own design sensibilities. This aesthetic evolution takes him in the direction of a “less is more” approach as he imbues work with a quiet presence. To achieve this, Gair uses relatively few tools. Perhaps then, it is ironic that he is also attentive to removing throwing lines from his pieces, and in so doing, his work seems born, not made. While Gair has found a way to remove some evidence of his hand from his work, fortunately he retains the essence of his heart in all he creates.
Jar, 2019, soda fired stoneware, 15” X 15” X 15”
Plate, 2019, soda fired stoneware, 8” X 8” X 1.5”
Iva Haas 2018 ETCHART-SATRE FELLOW
“Come in. Place your hands here and here—touch this!” My introduction to Iva Haas’ studio was a full-on tactile experience. As she pressed my hands onto the surface of her sculptural half dome, my preconceptions disappeared. What I read to be cold grey concrete was actually soft flocking—a complete surprise which led her to wryly smile and comment, “I want to evoke that reaction.” Born in Serbia during wartime, Haas embodies a complex blend of roots, from a mother with Serbian heritage to a father born in Croatia, but with relatives from Bosnia and his own Serbian heritage. Initially, she was enthralled by the sciences but ultimately came to the U.S.A. to pursue her studies in ceramics, for a BFA at Maine College of Art and an MFA at Rhode Island School of Design. Her work, like her past, combines multiple influences and departures. Sharp, decisive, geometric shapes and angles make up the building blocks of her sculptural forms yet are obscured and mellowed by her surface explorations—flowing lines of soft yarn and hundreds of “spikey metal things” protruding from clay. Her love of mixed media comes partly from a lineage of women weavers in her family, like her army-nurse trained grandmother who had a talent for braiding hair and making rugs. Haas’ journey to ceramics came through a combination of fierce determination and random events. An allergy to turpentine was a turning point that led her away from studio art restoration into graphic design which reveals itself in bold and graceful lines in her ceramics. In her studio, books on Soviet bus design and scholarly works on Brutalism sit side-by-side with her beautifully drawn sketchbooks, a repository for indelible memories from her early days roaming
abandoned buildings in Serbia and time exploring the rugged geography of Maine. Her fascination with Brutalism, so apparent in her forms and colors (self-named as New Belgrade Orange and Green), is not simply shaped by architectural history or academic study. It springs from a deeply personal place, her Proust-like reminiscences of growing up inside a Brutalist-era building. She describes colorful laundry hanging from stairwells, infused with a kaleidoscope of colors, and explains why she rejects the notion that Brutalism is “cold, grey and inhuman.” Sounds and images come to life as if she were reliving her childhood, from the watchful eyes of women looking over children to sounds of barking dogs. To her, Brutalism has been misread as “ugly” and she adamantly rejects this stereotype. Her fresh gaze infuses her pieces, whether in her sculptural self-portraits—towering pieces dripping with yarn—or in her more intimate “hairy creatures” in a geometric union that remind one of an eccentric couple.
Pantone 174C, 2019, earthenware, underglaze, glaze, foam, nichrome wire, 8” X 6” X 6”
Her unique shapes call out for more than a traditional surface treatment or glaze. Haas’ surfaces can be as surprising and magical as her forms, embedded with nerf balls, polka dots or coated with house paint. Her work is neither a replica nor a maquette of buildings she grew up in, but inspired by memories and energetically transferred into ceramic structures that “tell a story.” Toward the end of our time together, Haas fondly recalls a Serbian geometry teacher who placed a series of dots on a chalkboard,
drew a line toward infinity and opened her mind to all that comes from a circle: the shape of science, electrons and atoms. In that moment it seemed as if her eyes were opened to a secret to life. While much of her work starts with “simple geometric shapes,” it arises from a complex life and place. All she makes is “loaded” with content, memory and materials—requiring a penetrating gaze that is well-rewarded in a flood of excitement on the part of the fortunate viewer.
Pantone 16-0439, 2019, earthenware, underglaze, glaze, house paint, nichrome wire, foam, 6” X 6” X 9”
Yellow Grid, 2019, porcelain, underglaze, glaze, foam, metal, 3” X 5” X 3”
The Walker, 2019, stoneware, glass, foam, rubber, flocking, house paint, high temp. wire, 4” X 7” X 7”
Kelly Stevenson 2018 QUIGLEY-HILTNER FELLOW
Take a fourth generation Montanan with a deep connection to family, nature and the distinctive train whistles of her hometown, transplant her to Atlanta for an MFA at Georgia State and watch what happens. For Kelly Stevenson, ceramicist, sculptor, and mixed media experimenter, this “upending” as she calls it, did much more than invoke homesickness. Being out of her element and surrounded by an unfamiliar mix of urban visuals, from concrete to graffiti, inspired her and making work became her way of navigating the world. Stevenson’s influences are multiple. She is as proud of her upbringing in Montana as she is of being raised by two artist-parents. A beautifully drawn illustration by her father—a “fly fisher, hunter, artist-biologist”—is prominently displayed in her studio at the Bray, and her mother, also an accomplished artist, has appeared as a sunflower in her ceramic work. It is from these artistic roots that she began “playing with sculpture,” and her transition to an urban setting, far from the menagerie of childhood, (which included a pet magpie), led to a transformation in her work. Sculpted forms that once appeared half-human/half-animal gave way to seated forms surrounded by a sea of black and white urban graffiti. “Being in Atlanta had a huge effect on me.” Perhaps that explains how she is equally adept at meticulously crafting salmon swimming upstream, hummingbirds freeze-framed drinking from “the windows of the soul” and abstract heads covered in writing and imagery, as if dreams had risen to the surface. On her own head, she often is seen beneath a hat adding height, attitude and slightly obscuring her face as she strides purposefully to her studio, filled with drive in each step.
This mysterious energy works its way into her art, whether to reveal details in finely sculpted work, or obscure an easy “read” by layering imagery onto her head forms which emerged as she scraped off specific facial features and simplified them down to a silhouette. “I like sculpting, digging into surfaces, getting down to layers.” Her clues are not immediately discernable to the viewer. She stamps out time in the form of dots in her work, sometimes as polka dots, other times as marble-like balls embedded within her work. Count them, and you will know her age at the creation of the piece. Some artists gravitate toward a specific clay body, such as stoneware or porcelain, or a
A Thing or Two, 2019, stoneware, slip, underglaze glaze, gilding paint, 18” X 16” X 11.5”
specific sculptural technique. For Stevenson, experimentation seems to be the only constant. “When I make something, I do it differently each time: hollow, pinch, coil, slab or a combination of slabs and coils.” Her surfaces and glazes are as experimental as her pieces and a penchant for mixed media, from watercolor pens to encaustic, are as likely to be a part of her practice as traditional glazes and construction techniques. Her work is a fine balance of mystery and revelation. Journaling, which has long interested her, works its way into her pieces, even though the words might be upside down and illegible, as they are not necessarily meant to be deciphered. There are “little
Tear it Out, 2019, stoneware, slip, terra sigillata, underglaze, glaze, gilding paint, 26” X 9.5” X 7”
secrets” scattered throughout her work, but Stevenson is less concerned with “giving away everything” and more about hoping “people catch a little glimpse of themselves in the work.” To her, art is about finding “interconnected threads.” Her thesis title, ENOUGH, says a lot. She was fascinated by the double meaning, whether it’s “being enough” or “doing enough” or even when an artist can say, “enough is enough.” While the many who connect with her work may agree that her unique clay voice is “enough,” it still leaves the viewer longing for more work and future shows and eager to see where her talent, experimentation and transitions take her.
A Hushed Dither, 2019, stoneware, spray paint, gilding paint, 35” X 16” X 18”
PAST FELLOWSHIP RECIPIENTS 1999 Marc Digeros, Taunt Fellow Sharon Brush, Myhre Fellow 2000 Eric Eley, Taunt Fellow John Byrd, Myhre Fellow 2001 Jiman Choi, Taunt Fellow John Utgaard, Lilian Fellow 2002 Jason Walker, Taunt Fellow Sandra Trujillo, Lilian Fellow 2003 Jeremy Kane, Taunt Fellow Karen Swyler, Lilian Fellow 2004 Trey Hill, Taunt Fellow Miranda Howe, Lilian Fellow Kowkie Durst, Lincoln Fellow 2005 Koi Neng Liew, Taunt Fellow Deborah Schwartzkopf, Lilian Fellow Melissa Mencini, Lincoln Fellow 2006 Jennifer Allen, Taunt Fellow Christina West, Lilian Fellow Joseph Pintz, Lincoln Fellow 2007 Jeremy Hatch, Taunt Fellow Brian Rochefort, Lilian Fellow Renee Audette, Lincoln Fellow Anne Drew Potter, Matsutani Fellow 2008 Kevin Snipes, Taunt Fellow Donna Flanery, Lilian Fellow Birdie Boone, Lincoln Fellow David Peters, Matsutani Fellow Nathan Craven, MJD Fellow
2009 Martha Grover, Taunt Fellow Sean Irwin, Lilian Fellow Gwendolyn Yoppolo, Lincoln Fellow Kelly Garrett Rathbone, Matsutani Fellow Kensuke Yamada, MJD Fellow 2010 Jana Evans, Taunt Fellow Mathew McConnell, Lilian Fellow Courtney Murphy, Lincoln Fellow Nicholas Bivins, Matsutani Fellow Aaron Benson, MJD Fellow 2011 Lindsay Pichaske, Taunt Fellow Jonathan Read, Lilian Fellow Kenyon Hansen, Lincoln Fellow Sean O’Connell, Matsutani Fellow Andrew Casto, MJD Fellow Alanna DeRocchi, Speyer Fellow Jeff Campana, Anonymous Fellow 2012 Mel Griffin, Taunt Fellow Giselle Hicks, Lilian Fellow Sunshine Cobb, Lincoln Fellow Peter Christian Johnson, Matsutani Fellow Chris Pickett, MJD Fellow Andrew Gilliatt, Speyer Fellow Jeff Campana, Windgate Fellow Alanna DeRocchi, Windgate Fellow Sean O’Connell, Windgate Fellow Jonathan Read, Windgate Fellow 2013 Zemer Peled, Taunt Fellow Sunshine Cobb, Lilian Fellow Tom Jaszczak, Lincoln Fellow Joanna Powell, Matsutani Fellow Chris Dufala, MJD Fellow Adam Field, Speyer Fellow Andrew Gilliatt, Windgate Fellow Mel Griffin, Windgate Fellow Giselle Hicks, Windgate Fellow Chris Pickett, Windgate Fellow
2014 John Souter, Taunt Fellow Adam Field, Lilian Fellow Bill Wilkey, Lincoln Fellow Kyungmin Park, Matsutani Fellow Brooks Oliver, MJD Fellow Heesoo Lee, Speyer Fellow Zemer Peled, Windgate Fellow Joanna Powell, Windgate Fellow Tom Jaszczak, Lillstreet Art Center Fellow Chris Dufala, Anonymous Fellow 2015 Hannah Lee Cameron, Taunt Fellow Heesoo Lee, Lilian Fellow Michelle Summers, Joan Lincoln Fellow Lauren Gallaspy, Matsutani Fellow Perry Haas, MJD Fellow Chris Riccardo, Speyer Fellow Brooks Oliver, Windgate Fellow Kyungmin Park, Windgate Fellow John Souter, Windgate Fellow Bill Wilkey, Lillstreet Art Center Fellow
2018 Jessica Brandl, Taunt Fellow Ben Carter, Matsutani Fellow Kelsey Duncan, Speyer Fellow Stuart Gair, MJD Fellow Iva Haas, Satre-Etchart Fellow Kelly Stevenson, Quigley-Hiltner Fellow
*Stories featured in previous year’s monograph.
2016 MyungJin Kim, Taunt Fellow Perry Haas, Lilian Fellow Nicholas Danielson, Joan Lincoln Fellow Ling Chun, Matsutani Fellow En Iwamura, MJD Fellow Noah Riedel, Speyer Fellow Hannah Lee Cameron, Windgate Fellow Chris Riccardo, Windgate Fellow Michelle Summers, Lillstreet Art Center Fellow Lauren Gallaspy, Satre-Etchart Fellow 2017 Anton Alvarez,* Taunt Fellow Christina Erives,* Quigley-Hiltner Fellow Richard W. James,* Speyer Fellow Kyle Johns,* MJD Fellow Yoonjee Kwak,* Matsutani Fellow
This publication is generously funded by the Joliet Foundation.
BOARD OF DIRECTORS Dennis M. Taylor, President Josh DeWeese, Vice President Chris Antemann Teresa Olcott Cohea Emily Galusha Andrea Gill David Hiltner Michael Jenson Tony Marsh Mark Pharis Louise Rosenfield Michael Sherrill Lisa Simon Tim Speyer Sue Tirrell Kurt Weiser Sandy Wikle Martha Williams
RESIDENT ARTIST DIRECTOR Steven Young Lee
ABOUT THE BRAY The Archie Bray Foundation for the Ceramic Arts is a public, nonprofit, educational institution founded in 1951 by brickmaker Archie Bray, who intended it to be “a place to make available for all who are seriously interested in any of the branches of the ceramic arts, a fine place to work.” Its primary mission is to provide an environment that stimulates creative work in ceramics. Listed on the National Register of Historic Places, the Bray is located three miles from downtown Helena, Montana, on the site of the former Western Clay Manufacturing Company. Set against the wooded foothills of the Rocky Mountains, the 26-acre former brickyard is internationally recognized as a gathering place for emerging and established ceramic artists. The nearby mountains and brick factory ruins provide a backdrop for the creative environment; more important is the dynamic arts community created by the resident artists that come to the Bray to work, share experiences, and explore new ideas.
“...for all who are seriously interested in any branches of the ceramic arts, a fine place to work.” -Archie Bray, Sr. 1951
2915 Country Club Avenue, Helena, MT 59602 406/443-3502 | archiebray@archiebray.org | www.archiebray.org