Issue No. 8 | Summer 2014
Mud Matters
F R O M T H E C U R AT O R
Reflecting back and moving forward I feel extremely fortunate when I reflect on my varied career as an artist turned museum director, curator, educator and writer, with a distinct focus on ceramics. I have always striven to be an advocate for artists, recognizing the difficulties it takes to be a maker in our increasingly complex society, with all the joys and struggles that encompass a creative life. I can’t think of another route that would have satisfied my curiosity about the world with all its potential wonder. It has been a circuitous journey to arrive where I am today, with each arc informing the next. My entry into the museum world started later in life by volunteering at a museum and being surrounded by objects that held the potential to tell the story of humankind, with all its complexities and richness. Every day there was something new to learn, and that never diminished for me over the years. The success I have achieved is due, in large part, to a passionate community of supporters who believed, as I do, in the possibility that art can transform and enrich our lives. My tenure at Arizona State University these past 11 years has been truly astonishing. My work involving engaged colleagues and faculty members, energized students, talented artists, writers and researchers and generous collectors and patrons has given me a solid platform to carry out my work. The ceramics collection at ASU started in the late 1960s with Director Emeritus Rudy Turk, who made a commitment to studio craft at a time when very few fine art museums recognized it as art. The holdings demonstrate the full range of techniques, aesthetic approaches and possibilities within the medium while reflecting on our cultural past and present. The scope and quality of the collection is truly staggering, and I’m very pleased to have been part of its growth and development. The objects emit our shared stories, revealing our commonly held values going beyond the artist’s intentions. I feel so fortunate to have had the opportunity to steer the center from its infancy to a point of national prominence. As I will be leaving ASU, it seems timely that my successor will have a great new facility to work in while taking the center to a heightened level of accomplishment. Throughout my life I have established valued friendships with so many people both near and far. Your support, encouragement and guidance have proved invaluable to my success. It is very much appreciated — so thank you.
[Cover] “MUCK: Accumulations, Accretions, and Aggregations.” This exhibition was curated by Peter Held and generously supported by the Helme Prinzen Endowment, Joan and David Lincoln and members of Ceramic Leaders at ASU. Photo by Craig Smith. [Top left + right] Peter Held, curator of ceramics. Photo by Eduardo Rivera | Ceramics Research Center’s new location, downtown Tempe. Image courtesy of the ASU Art Museum.
Planning Your Next Visit ADMISSION IS FREE
The ASU Art Museum Ceramics Research Center is part of the Herberger Institute for Design and the Arts at Arizona State University and provides unparalleled access for the hands-on study and enjoyment of ceramics. The collection encompasses nearly 4,000 objects, a number of which are on permanent exhibition in open storage. Ongoing exhibitions are always available for viewing. The ASU Art Museum Ceramics Research Center and Brickyard Gallery is located at 699 S. Mill Ave., Suite 108, Tempe, Ariz. 85281 asuartmuseum.asu.edu/ ceramicsresearchcenter ASU ART MUSEUM BRICKYARD HOURS
Tuesday – Saturday: 11 a.m. – 5 p.m. Open Tuesday until 8 p.m. during the academic year, mid-August through mid-May. Closed Sunday, Monday and holidays. Additional hours or tours by appointment. PARKING
Metered street parking is available adjacent to the Brickyard, as is paid underground parking (enter on Sixth or Seventh Street). Park on level B1 and take the elevator to PL (plaza). The ASU Art Museum Ceramics Research Center and Brickyard Gallery is in the east end of the building, near the courtyard fountains. Mary-Beth Buesgen, Ceramics Research Center program specialist: 480.965.7092 Mary-Beth.Buesgen@asu.edu
[Top left + right] Grand Opening of the Ceramics Research Center and Brickyard Gallery. | ASU President Michael Crow, ASU Art Museum Director Gordon Knox and Curator of Ceramics Peter Held at the Grand Opening. Photos by Cassandra Tomei.
CALE N DAR OF EVE NTS
ASU Art Museum Ceramics Research Center relocates to the Brickyard on Mill This past spring, the ASU Art Museum Ceramics Research Center celebrated an exciting change. On March 21, 2014, we opened our doors for the first time in a newly remodeled space on the ground floor of the Brickyard at Mill, located at Seventh Street and Mill Avenue in Tempe. The new location, officially named the ASU Art Museum Ceramics Research Center and Brickyard Gallery, is three blocks north of the former Ceramics Research Center location. It provides the museum an opportunity to capture an expanded audience in the heavily trafficked Mill Avenue retail district and with a more flexible floor plan, including additional space for our collection, gallery, storage, library, archive and a new branch of the museum store. “The museum is excited to now also be amidst the movement and energy of the Mill Avenue district, and we are planning on a presence that will build on and be enhanced by the already vibrant downtown Tempe scene,” said ASU Art Museum Director Gordon Knox.
“Given the necessity of relocating the Ceramics Research Center due to the planned development in Tempe Center, I’m extremely pleased that ASU found us such a great location in the heart of downtown Tempe,” said ASU Art Museum Curator of Ceramics Peter Held. “The new space allows us to expand our capabilities to serve students and the public and to grow our audience base. This move will act as a catalyst to propel the center’s programming into the future.” The Ceramics Research Center has been a national and international destination point for the hands-on study and enjoyment of ceramics since its opening in March 2002. The center, which houses and displays the ASU Art Museum’s extensive ceramic collection of nearly 4,000 objects, serves as a key educational component of the ASU Herberger Institute for Design and the Arts through its teaching and research facilities. The ASU Art Museum Brickyard is the museum’s third presence in the Phoenix-metro area, alongside the existing ASU Art Museum at 10th Street and Mill Avenue, on ASU’s Tempe Campus and the ASU Art Museum International Artist Residency Program, located in downtown Phoenix
Jan Fisher Memorial Lecture Series The Jan Fisher Memorial Lecture Series is named in honor of Jan Fisher, an art history graduate student and active Ceramics Leaders of ASU member who passed away in February 2006. The lecture series brings both established and emerging women ceramic artists to the Phoenix community. While on campus, the participating artists meet with art students and become acquainted with the ASU Herberger Institute for Design and the Arts programs. Linda Sikora, our Jan Fisher lecturer in April 2014, is a talented potter with an international reputation, known for her elegant functional ceramics. Sikora moved to the United States from Canada to attend graduate school at the University of Minnesota. She has been a professor of ceramics at Alfred University, School of Ceramics in Alfred, N.Y., since 1997 and shares a studio with her husband, Matthew Metz, in Alfred Station. We thank the Fisher family, whose support enabled us to offer this multiyear series for the benefit of ASU students, staff and the general public. The next Jan Fisher event will be held Fall 2014.
at Combine Studios. asuartmuseum.asu.edu | 3
S POTLIG HT: PETE R H E LD
Peter Held to retire after 11 years as ASU Art Museum curator of ceramics Peter Held, curator of ceramics for the ASU Art Museum’s Ceramics Research Center, will retire from his position at the end of June 2014. During his 11-year tenure with the museum, Held shaped the future of the internationally renowned center and its collection. His impressive career includes the curation of more than 100 exhibitions, including seven national traveling ceramic shows. He is the author of numerous articles on contemporary art and crafts and is the editor and essayist of 10 books. “My tenure at Arizona State University these past 11 years has been truly astonishing. Working with engaged colleagues and faculty members, energized students, talented artists, writers and researchers and generous collectors and patrons has given me a solid platform to carry out my work,” said Held. “Every day there was something new to learn, and that never diminished for me over the years. The success I have achieved is due, in large part, to a passionate community of supporters who believed, as I do, in the possibility that art can transform and enrich our lives.” “In 11 short years, Peter has transformed an excellent yet modest
collection of American ceramics into the best assembly of postwar American ceramics in the world; and he did so by growing and activating that archive — integrating the collection into the ethos and mission of the university by converting a collection into a world-
degree in museum administration at Oregon State University and interned at the Portland Art Museum in the Asian Art Department. He returned to Helena in 1994 to serve as executive director and curator of the Holter Museum of Art, where he successfully led a
“Every day there was something new to learn, and that never diminished for me over the years. The success I have achieved is due, in large part, to a passionate community of supporters who believed, as I do, in the possibility that art can transform and enrich our lives.” — Peter Held class and highly active research center,” said Gordon Knox, ASU Art Museum director. “On behalf of the museum, the university and the ceramics field in general, we are deeply grateful for Peter’s tireless effort, compassionate support of the field and solid contributions to research and to the advancement of the ceramic arts.” Held joined the museum in 2003 following a distinguished career as both an artist and museum administrator. He received his bachelor’s degree in studio art from the State University of New York at Brockport. Upon graduation, he moved to Helena, Mont., to become a resident artist at the Archie Bray Foundation for the Ceramic Arts (1974– 76). He later completed a master’s
$2.3 million capital and endowment campaign. During his tenure at the ASU Art Museum, Held spearheaded a series of retrospective and mid-career exhibitions focusing on the work of artists broadening and enhancing the field of contemporary ceramics — including such exhibitions as “Between Clouds of Memory: Akio Takamori,” “A Mid-Career Survey” (2005), “Following the Rhythms of Life: The Ceramic Art of David Shaner” (2007), “Eden Revisited: The Ceramic Art of Kurt Weiser” (2009), “Wanxin Zhang: A Ten Year Survey” (2010), “A Chosen Path: The Ceramic Art of Karen Karnes” (2011) and “Infinite Place: The Ceramic Art of Wayne Higby” (2013).
Under Held’s leadership, the museum’s ceramics collection increased by more than 25 percent, adding more than 1,000 objects to its existing holdings. Despite limited acquisition funds, Held diversified the collection greatly, transforming it from being largely vessel-oriented to a broader picture of the full spectrum of the work being done in the contemporary ceramics field. Held took great care to develop relationships with collectors both locally and nationally, and presented numerous exhibitions of new acquisitions to the collection — notably, “Shared Passion: Sara and David Lieberman Collection of Contemporary Ceramics and Craft” (2003), “British Ceramic Masterworks: Highlights from the Anne and Sam Davis Collection” (2004) and “A Ceramic Legacy: Selections from the Stéphane Janssen and R. Michael Johns Collection” (2006). In 2013, Held worked alongside the ASU Art Museum’s Associate Director and Senior Curator Heather Sealy Lineberry and Windgate Curatorial Fellow Elizabeth Kozlowski for the landmark exhibition “Crafting a Continuum: Rethinking Contemporary Craft.” The exhibition and its accompanying catalog, lauded by the American Craft Council as one of the most monumental of the year, provided an international perspective on modern and contemporary crafts and the current level of innovation and experimentation in material studies. In addition to his curatorial projects, Held counts his experiences with numerous university faculty, students and interns as some of the most rewarding aspects of his time at ASU. In March 2014, he was awarded two of the highest accolades possible within the field of ceramic education: the Smithsonian’s James Renwick Alliance Distinguished Educator Award and the National Council for Education on the Ceramic Arts Honorary Member
Award. The ASU Art Museum Ceramics Research Center and Peter Held received the 2007 CLAY Award (Ceramic Lifetime Achievement Award) from the Friends of Contemporary Ceramics, the leading organization of ceramic collectors, art dealers and curators in the United States. The award is given for lifetime achievement in advancing the field. Following his retirement, Held plans to pursue independent curatorial and research projects. He will continue to remain close to ASU. His final exhibition for the museum prior to his retirement, “These Are Some of My Favorite Things,” will open July 19, 2014, at the ASU Art Museum Ceramics Research Center and Brickyard Gallery. About the ASU Art Museum Ceramics Research Center The ASU Art Museum, named “the single most impressive venue for contemporary art in Arizona” by “Art in America” magazine, is part of the Herberger Institute for Design and the Arts at Arizona State University. The Ceramics Research Center has been a national and international destination point for the hands-on study and enjoyment of ceramics since its opening in March 2002. The center, which houses and displays the ASU Art Museum’s extensive ceramic collection of nearly 4,000 objects, serves as a key educational component of the Herberger Institute for Design and the Arts through its teaching and research facilities. In the spring of 2014, the center relocated to the new ASU Art Museum Brickyard on Mill Avenue, where it is now open. [Top left + right] Peter Held talks with students during their class visits to the museum and ceramics research center. Image courtesy of ASU Art Museum.
These Are Some of My Favorite Things July 19 – Oct. 4, 2014 Closing reception: Oct. 4, 2014 Since childhood, many of us have felt the need to collect, whether it is baseball cards, marbles, Barbie dolls or coins. What is this basic instinctual need that drives us to collect and organize groups of objects, making sense of seemingly disparate objects? “These Are Some of My Favorite Things” features seven private collections from local artists, collectors and creatives, all equally passionate and obsessive about the things they love and choose to live with. They include: Cyndi Coon (small white objects); Gretchen Freeman (folk and naïve art); Mark Klett (sunrise sticks); Randy and Katie Schmidt (military trench art); Joe Willie Smith (African folk and naïve art); Kathleen Vanesian (Mexican folk art) and Kurt Weiser (childhood and travel memorabilia). Also included is a selection of works from the museum’s permanent collection chosen by Curator of Ceramics Peter Held, focused on the ceramic Funk movement. One of Held’s favorite time periods in the development of American studio ceramics, Funk ceramics emerged from the San Francisco Bay Area alternative underground and were shaped by countercultural aesthetics in the 1950s and 60s. The movement was spearheaded by Robert Arneson at the University of California-Davis, who encouraged his ceramic students to explore a new terrain of art. In addition to a number of iconic works by Arneson, works by Fred Bauer, David Gilhooly, Erik Gronborg, Peter VandenBerge and Patti Warashina will be included. The exhibition has been supported by the Ceramics Research Center’s Artists Advisory Committee. asuartmuseum.asu.edu | 5
IN MEMORIAM: DON REITZ
The fearless nature of being: the legacy of Don Reitz “Life is not a dress rehearsal; you only have one shot at it.” — Don Reitz, Aug. 20, 2011 The ASU Art Museum and Ceramics Research Center was deeply saddened to learn of the passing of our friend Don Reitz, an iconic ceramic artist and educator, March 19. He was 84 years old. As a memorial tribute, the museum unveiled a selection of his work in the permanent collection at its new Brickyard facility for the location’s grand opening April 11. Reitz was a modern-day folk legend and larger than life. As a master ceramicist, he produced new and exciting work with his innovative and adaptable practice, inspiring several generations of ceramic practitioners. Despite advanced age, Reitz continued to push his artistic vision, inspiring a new generation of ceramic practitioners. Born at the beginning of the Great Depression, in 1929, Reitz was affected by the harsh economic realities during his childhood. Having grown up during this difficult time in history, Reitz drew upon this wellspring of strength to make the most of any circumstance. Dyslexia and the disillusionment of academia, marital strife and a near fatal accident made for, at times, a tumultuous life, but Reitz remained an eternal optimist, plowing through the fields of life with vim and vigor, undeterred by roadblocks. “I’m a warrior, not a foot soldier,” he said in a recent interview. Reitz trained at Alfred University, the preeminent institution for advanced ceramic training. His early work is marked by the design imperatives of the day: clean, simple pots with a solid grounding in technical knowledge and craftsmanship. Following the lead of his teachers Robert Turner and Val Cushing, and fellow Alfred alumni Karen Karnes, Ken Ferguson and David Shaner, Reitz’s formative utilitarian pieces are marked by simplicity, symmetry and prevailing European modernist influences. While all four artists shared similar training, each found their own voice early in their distinguished careers. At Alfred, Reitz began experimenting with salt-glaze, a technique largely neglected by the post World War II ceramic studio movement. Readily embracing this firing technique, Reitz quickly realized that it allowed the clay to keep its natural character, and its malleability did not obscure the creator’s hand. In a decade’s time, he was dubbed “Mr. Salt” by
his peers. Baroque pots with ornamental embellishments from this era of Reitz’s career are iconic within the field. In Reitz’s career, he experienced his fair share of life’s unexpected twists and turns. In 1982, he was hospitalized for several months due to multiple injuries suffered from an auto accident. This experience was not only physically challenging, but also kept the artist from creating in his studio. The knowledge of his five-year-old niece Sara’s bout with cancer added to his mental and spiritual debilitation. Drawing as a means of rehabilitation, Sara and Reitz bolstered each other’s spirits. Inspired by the little girl’s freedom of form, line and color, Reitz took to paint and paper in hand as a cathartic healing process, eventually returning to the studio to unleash a torrent of new work. His “Sara Series” is the result, a collection of covered jars and plates comprised of chalky pastels and vivid hues of red, yellow and blues, gouged with autobiographical drawings and noticeably divorced from his previous body of work. In the mid–1980s, Reitz devoted more time to the wood firing process, due in part to his long association and friendship with Don Bendel, ceramics teacher at Northern Arizona University in Flagstaff. Bendel invited the Japanese master kiln builder Yukio Yamamoto to build a Noborigama and Anagama kiln that continues to be part of the core program at the university. In successive years, Reitz worked through a number of visual forms through ceramics: Shields, Tea Stacks, Bag Forms, Punch-outs, Kachinas and Table Tops. After his life-threatening heart surgery in 2007, the realities of his diminished physical stamina required new modes of working. Reitz relied on studio assistants to make cylindrical shapes, which he then altered.
[Top + bottom left] Don Reitz in his studio. | Don Reitz bus trip, kiln unloading, January 2014. Photos by Daniel Swadener.
It provided a sense of freedom Reitz had never experienced until this moment in his long career. Reitz also wood fired in kilns around the country, and collaborated with a multitude of other artists. Artist Chris Gustin wrote of his friend that working together was a gift that kept on giving: “We’ve spent countless hours at the wood kiln, firing, talking, eating, laughing and reminiscing. What drives it all is the work, the pots that we’re firing and the ones that have yet to be made. It’s a wonderful thing to be reminded of how lucky we are to work in clay. Don’s generosity and spirit are contagious, and his energy is an incredible thing to be a part of,” he says. It’s hard to imagine a more noteworthy artist who has been a mainstay in ceramics for the last six decades, retaining the defining attributes of a formidable artist: exceptional talent and skill, a highly disciplined work ethic, and unbridled enthusiasm with a world composed of subtle nuances and catastrophic events. The trajectory of Reitz’s artistic career is inextricably woven into his personal life’s tidal movements, both tragic and joyous. His recent work was a testament to the fearless nature of being Don Reitz, and this through constant reinvention and originality; he extended the definition and potential of the ceramic arts. He will be sorely missed by legions of artists from around the United States and abroad. His obituary appeared in The New York Times March 29: nytimes.com/2014/03/30/arts/design/don-reitz-whomade-dirt-and-salt-into-art-dies-at-84.html
Update on Higby and Crafting a Continuum traveling exhibitions The museum currently has two exhibitions traveling on national tours: “Infinite Place: The Ceramic Art of Wayne Higby” and “Crafting a Continuum: Rethinking Contemporary Craft.” The Wayne Higby retrospective has traveled to the Renwick Gallery, Washington, D.C, where 18,000 visitors viewed the astonishing work of this master ceramicist, then was previewed at the Reading Public Museum in Reading, Penn. The exhibition is currently on view at the Philadelphia Art Alliance, then moves on to the Racine Art Museum and Memorial Art Gallery in Rochester, N.Y. A beautiful full-color monograph is available for purchase through the ASU Art Museum store. “Crafting a Continuum” provides the first overview of the Arizona State University Art Museum’s internationally renowned contemporary craft collection, with a media emphasis on ceramics, fiber and baskets and turned wood. “Crafting a Continuum” advances the museum’s commitment to present the craft field within the context of contemporary art and acknowledges craft as a significant and central part of the art world. Touring itinerary May 17 – Aug. 10, 2014 Boise Art Museum Boise, Idaho Sept. 13 – Dec. 21, 2014 Ft. Wayne Museum of Art Ft. Wayne, Ind.
Don Reitz Bus Trip On Jan. 20, 2014, the ASU Art Museum Ceramics Research Center took a bus trip with clay enthusiasts to the Reitz Ranch in Clarkdale, Ariz. This was a once in a lifetime opportunity to join master artist Don Reitz, along with six nationally recognized ceramic artists, for the unloading of the Reitzagama, with hundreds of beautiful pots being unveiled. An exhibition at Bentley Gallery followed featuring the ceramic works of Don Reitz, Dan Anderson, Chris Gustin, John Hopkins, Matt Long and Matt Rude that were unloaded from the seven-day wood-firing.
Jan. 30 – April 15, 2015 Nora Eccles Museum of Art, Utah State University Logan, Utah May 30 – Aug. 30, 2015 Houston Center for Contemporary Craft Houston, Texas
asuartmuseum.asu.edu | 7
MAKING NEWS
Coming soon: 14th Annual Self-Guided Ceramics Studio Tour
North Carolina Back Roads Pottery Tour
Where are they now? Intern Edition
April 23–28, 2014
Feb. 21–22, 2015, 10 a.m. – 5 p.m. each day
North Carolina is fertile ground for pottery making and has been for over 200 years. Curator of Ceramics Peter Held was joined by enthusiastic museum patrons for an adventure to the state’s remarkable historical and contemporary pottery and craft enclaves: Jugtown/Seagrove, Pittsboro, Hickory and some very scenic points in between. The group was welcomed by accomplished artists, passionate collectors of craft and folk art and distinguished museum directors and curators who now carry the mantle of North Carolina’s rich and renowned clay heritage. Visits to vibrant Charlotte and gracious Asheville bookended time along North Carolina’s back roads and through its small towns. Beautiful spring weather greeted the group with its verdant countryside with flowers galore, making a perfect backdrop for a fabulous trip!
We are proud to announce that Elizabeth Kozlowski, the 2012–2013 ASU Art Museum Windgate Curatorial Fellow, joined Houston Center for Contemporary Craft as its new curator in January 2014. Elizabeth was recently awarded a master’s with honors in museum studies through the School of Human Evolution and Social Change at Arizona State University.
The annual Self-Guided Ceramics Studio Tour, organized by the Artists Advisory Committee of the ASU Art Museum’s Ceramic Research Center, presents the work of more than 50 professional ceramic artists in the Phoenix metropolitan area. The tour offers the public a rare opportunity to view working and living spaces of participating artists as well as demonstrations of wheel-throwing, hand-building and glazing techniques. Participating artists have a wide range of both functional and sculptural artwork on exhibit and for sale. The tour is free and open to the public. [Top left to right + bottom left] Potter Alex Matisse with Connie Coady at East Fork Pottery studio during the Ceramics Research Center North Carolina trip. | Elizabeth Kozlowski, ASU Art Museum Windgate Curatorial Fellow 2012–13. | Studio Tour Exhibition Opening at the Night Gallery, Tempe Market place Photos by Peter Held.
For the past two years, she served as the Windgate Curatorial Fellow at the Arizona State University Art Museum. As the Windgate Curatorial Fellow, she assisted Associate Director and Senior Curator Heather Sealy Lineberry and Curator of Ceramics Peter Held in the development, execution and management of a wide-ranging initiative that explored the concepts surrounding craft within the context of contemporary art. The fellowship culminated in a national traveling exhibition, “Crafting a Continuum: Rethinking Contemporary Craft,” accompanied by a 192-page catalog with the same title. The exhibition will be traveling to Houston Center for Contemporary Craft in the summer of 2015. “I am especially interested in supporting the role of the makers and creators of objects that become such an integral part of our lives,” Elizabeth says. Congratulations Elizabeth!
Introducing new ceramic artists in the ASU Art Museum store at the Brickyard Look for great selections of ceramics available for purchase in the museum store from ASU ceramic faculty members as well as nationally recognized potters. We’re excited to introduce new ceramic works by six artists: Sunshine Cobb, Andrew Gilliatt, Meredith Host, Tammy Marinuzzi, Jennie Sikora-Muehl and Tara Wilson. Proceeds from museum store sales support the ASU Art Museum Ceramics Research Center’s exhibitions and programming.
Sunshine Cobb creates rich, smooth earthenware forms and adds a pop of color to create a sense of motion and time. She feels that her work is at its very best when in use; the work comes to life and enhances any encounter. “I hope to communicate how an object’s significance can grow and change depending on the path of a person’s life,” she says. After a short stint at Chico State University, California, Cobb went on to graduate with a BA in studio art from California State University at Sacramento in 2004. She graduated in 2010 from Utah State University with her MFA in ceramics. Recently, she has been named as an emerging artist by both “Ceramics Monthly” and National Council on Education for the Ceramic Arts conference. Cobb is working as a potter and travels the country as a lecturing and demonstrating artist. She is focusing on functional ware, embracing the richness of red clay and exploring the challenge of electric firing. She is currently a long-term resident at the Archie Bray Foundation in Helena, Mont. | Photo courtesy of the artist. Andrew Gilliatt makes the prototypes for his forms using medium-density fibreboard and a lathe. He slip casts them using various colored slips. His work is whimsical and imaginative, featuring various colored porcelain clays, fired with bright glazes. After the glaze firing, he applies handmade laser decals that are drawn and designed on the computer. Gilliatt grew up in Virginia Beach, Va. He graduated with a BFA in graphic design from Virginia Tech in 2003. Later, he was a resident artist at Red Star Studios in Kansas City, Mo. In the spring of 2011, Gilliatt received his MFA in ceramics from Louisiana State University. After graduation he moved to Montana to do a summer residency at the Archie Bray Foundation, followed by a yearlong residency at Red Lodge Clay Center in Red Lodge, Mont. Gilliatt is currently a long-term resident at the Archie Bray Foundation in Helena, Mont. His work is exhibited in galleries nationwide and has been showcased in “American Craft” and “Ceramics Monthly.” | Photo courtesy of the artist.
Meredith Host’s functional pottery is wheel-thrown porcelain. Most of the color and pattern are applied before the bisque firing. The surfaces are decorated with multiple layers of brightly colored underglazes, using paper stenciling and screen-printing processes. After the glaze firing, decals are applied for a final firing. Host was born and raised in Detroit, Mich. She received her BFA in ceramics from Kansas City Art Institute in 2001 and her MFA in ceramics from The Ohio State University in 2008. Host has spent time at numerous ceramic residencies, including The School for American Crafts at RIT in Rochester, N.Y.; Watershed Center for the Ceramic Arts in Newcastle, Maine and Dresdner Porzellan Manufactory in Dresden, Germany. She was named one of the 2011 Emerging Artists for National Council on Education for the Ceramic Arts and “Ceramics Monthly.” Currently, Host lives in Kansas City, Mo., and is a full time studio potter. She has an extensive collection of patterned knee socks and taxidermy shoulder mounts. | Photo courtesy of the artist.
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Catalogs for Sale | New Release The following Ceramics Research Center publications are available for purchase in the ASU Art Museum store or by calling 480.965.2787. All books retail, plus shipping.
Innovation and Change: Ceramics from the Arizona State University Art Museum A wonderful overview of how the collection was formed in the late 1960s that features highlights from the collection. Softcover, 224 pgs., full color Retail Price: $35
Crafting a Continuum: Rethinking Contemporary Craft The exhibition catalog, edited by the museum’s curators, explores the development of the craft field within a critical context, as both idea and action. Hardcover, 192 pgs., full color Retail Price: $45
Infinite Place: The Ceramic Art of Wayne Higby A beautifully illustrated monograph edited by Peter Held. Includes contributions by Carla Coch, Helen W. Drutt English, Wayne Higby and others. Hardcover, 216 pgs., full color Retail Price: $85
[Bottom] Sergei Isupov, “Firey,” 2009, 25 ¾ x 19 ½ x 18 in., Stoneware, stain, glaze. Gift of David Charak, Ferrin Contemporary and Sergei Isupov.
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Name as it appears on credit card Signature Date *Your gift benefits the ASU Art Museum and will be deposited with the ASU Foundation for A New American University, a nonprofit organization that exists to support Arizona State University (ASU). Gifts in support of ASU are subject to foundation policies and fees. Your gift may be considered a charitable contribution. Please consult your tax advisor regarding the deductibility of charitable contributions. An acknowledgement from the ASU Foundation will confirm your gift. 30001764 (ASUAM), 30001785 (CC), 30005859 (IARP)
MAIL TO: ASU Art Museum, Membership, P.O. Box 872911, Tempe, AZ 85287–2911
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N O N -P R O F I T O R G A N I Z AT I O N U .S. P O STAG E PA I D A R I Z O N A STATE
ASU Art Museum 699 S. Mill Ave. #108 Tempe, AZ 85281–9998 asuartmuseum.asu.edu 480.965.2787
U N IVE R S ITY
Mud Matters: Ceramics Research Center