© 2013 Lillstreet Art Center 4401 N. Ravenswood Ave. Chicago, IL 60640 Artwork © the artists. Text © Doug Jeppesen and Tracey Morrison. Photographs by Joe Tighe. Design by Jess Mott Wickstrom. All rights reserved. No part of this publication may be reproduced in any form, or by any electronic or mechanical means, without permission in writing from Lillstreet Art Center. Cover: Josh Stover, Skunk Jug, 2012
Doug Jeppesen Bourbon Bottle, 2012 B-mix: Wood-fired 10 x 6 x 3 inches
F R O M T H E C U R AT O R
“Neat: The Art of the Whiskey Vessel” features a selection of contemporary artists who utilize this truly wonderful American beverage as a vehicle for artistic exploration. In a world where we demand immediacy, whether it is through electronic communication or a fast food order, we seem to not be able to get things quickly enough. “Neat” explores the time-honored traditions of the art and craft of creating artistic objects to deliver and experience this enticing libation. Cheers, Doug Jeppesen
Doug Jeppesen is a potter and Associate Professor of Art and Ceramics at Waubonsee Community College in Sugar Grove, Illinois.
C E R A M I C A RT A N D T H E W H I S K E Y T R A D I T I O N
by Tracey Morrison
Though it is sipped slowly and enjoyed
to America by Scotch-Irish immigrants,
recreationally, whiskey has rustic and
whiskey began its American presence in
controversial roots. Contradictory to
western Pennsylvania. After debt from
its history of taxation, rebellion, and
the Revolutionary War brought a tax on
prohibition, whiskey is generally thought
domestic spirits, a violent uprising ensued,
of as a centerpiece for relaxation and
known today as the Whiskey Rebellion
communal gathering. Reflecting on this
of 1791 to 1794. This sparked a move
mix of turbulence and tradition, sixteen
westward towards the Mississippi River,
artists explore the vessels that facilitate
into the regions of Kentucky, Tennessee,
whiskey consumption in “Neat: The Art
and the Midwest where fertile land for
of the Whiskey Vessel”. Curated by Doug
grain was abundant. The invention of
Jeppesen, the show displays a wide array
corn-based whiskey in Kentucky, now
of ceramic jugs, bottles, flasks, and cups
called bourbon, branded a new type
that explore the rural, ritualistic, and
of American spirit for whiskey drinkers
sometimes humorous nature of this richly
and thus began whiskey’s popularity as a
historic and commonly revered spirit.
rugged, potent, and truly domestic drink for the common man or woman.
Made from fermented grain and aged in wooden barrels, whiskey evokes a
Jeremy Randall’s series of colorful flasks
sense of pastoral simplicity. Brought
explores this rural Americana theme.
Using texture reminiscent of tin roofs,
Stover are examples of this intermediary
wooden panels, and folk-inspired patterns,
storage vessel. Before glass became a
Randall’s vessels take the form of more
popular choice for whiskey containment
architectural sculpture than functional
in the late 1800’s, ceramic vessels were
flask. With broad bases and short, narrow
used for this task. Often decorated with
necks for the opening, these flasks are a
advertisements for a distiller or tavern,
blended image of the barns and silos that
these vessels were glazed to impress in
line the American farmland. Randall’s
hopes of enticing customers to return.
pastel color palette is aged with the illusion of a rusted surface and the
Josh Stover’s Skunk Jug harkens back to
addition of actual steel tacks, conveying
the idea of these utilitarian yet alluring
the antique and forgotten relics of a
ceramic jugs. Stover’s attention to surface
pastoral past.
detail and humorous imagery encourages the viewer to step around the vessel
In the 18th and 19th centuries, whiskey
and observe the story displayed across
was sold to stores and taverns by the
its exterior. His narrative illustration is
barrel or keg, so customers would retrieve
inspired by rural scenery and displays an
their home supply in jugs and bottles.
entertaining view of whiskey’s backwoods,
Pieces by Ben Bates, Matthew Hyleck,
illegal trade through the eyes of cartoon-
Dan Murphy, Brad Schwieger, and Josh
style animal characters.
Because it is made from such simple
prominent size, shape, and material
ingredients, it was common practice to
than the common metal hip flask.
make homemade, unregulated whiskey.
Representative of whiskey’s controversial
Generally known in America as moonshine
past and boastful of its proud tradition,
and made from a mash of corn, sugar, and
flasks by Matt Long, Doug Jeppesen,
yeast, this illegal liquor grew in popularity
Jeremy Randall, and Erik Zohn all present
during political unrest surrounding the
proud and delicate vessels that turn the
legality of alcohol. Activist groups
flask from a secretive source of libations
encouraging anti-alcohol sentiment
into an expressive vessel for sharing.
had been increasingly prominent since the mid-1800’s, but it wasn’t until 1919
Sharing whiskey can be a ceremonious
that prohibition of alcohol became a
event. Slowing time and creating an
federal law. During the Prohibition era as
environment for the formation of
underground liquor trade and speakeasies
friendships, whiskey was often served in
flourished, so did the popularity of the hip
taverns from the barrel into a decanter
flask. These concealed containers were
and whiskey cup. Liquor sets by Jason
originally signs of wealth and the upper
Hess, Jayson Lawfer, and Charity Davis-
class, but since Prohibition they have come
Woodard feature a more intimate set
to represent a more secretive and daring
for two, while Josh DeWeese’s Liquor Set
side to liquor’s legacy.
is complete with an ewer, tray, and five cups. Meant to serve a group, DeWeese
More ornamental than functional, many
triumphs the ritual that occurs when
flasks displayed in “Neat” are of a more
sharing the experience of communal
drinking. Directional lines on the ewer and
great American tradition. “Neat: The Art
cups and freeform brushwork on the tray
of the Whiskey Vessel” is full of ceramic
display gesture, movement, and the mark
works that, whether used to consume
of the human hand within the making of
whiskey or displayed as a symbol of the
the piece. This encourages handling and
tradition, are reminders of the necessity
use, evoking a celebration of gathering.
to slow down, take a sip, and savor the drinking experience.
With or without a set, the whiskey cup is necessary for sharing. Work by Jack Troy, Kenyon Hansen, and Lorna Meaden display the importance of shape, size, and weight of the liquor cup. Lorna Meaden’s various
Tracey Morrison holds a BFA in Ceramics from the University of Illinois, Urbana-Champaign and is Gallery Assistant at Lillstreet Art Center.
porcelain cups explore different forms for the enjoyment of whiskey. From the small shot glass to the open-mouthed cocktail cup and the short tumbler, each provides a shape suited to serve whiskey in its various forms: neat, on the rocks, with a splash of water, or in a cocktail. Whether bourbon, malt, rye, or even moonshine, whiskey has overcome a history of hardships in order to provide a
Sources: Dowd, William M. Barrels and Drams: The History of Whisk(e)y in Jiggers and Shots. New York: Sterling Epicure, 2011. Print. Getz, Oscar. Whiskey: An American Pictorial History. New York: David McKay Company, Inc., 1978. Print.
W O R K S A R E P I C T U R E D in alphabetical order by artist name. See back of catalogue for biographies. To inquire about availability or to purchase, please email lillstreet@lillstreet.com.
Ben Bates Bottle, 2012 Stoneware: Wood-fired, Reduction cooled 12 x 4.5 x 4.5 inches
Ben Bates Bottle, 2012 Stoneware: Wood-fired, Reduction cooled 11 x 4 x 4 inches
Ben Bates Rocks Cups, 2012 Stoneware: Wood-fired, Reduction cooled 4.5 x 3.5 inches
Ben Bates Whiskey Cups, 2012 Porcelain: Wood-fired 4 x 3.5 inches
Ben Bates Whiskey Flask, 2012 Porcelain: Wood-fired 10 x 5 x 2.5 inches
Ben Bates Whiskey Bottle, 2012 Porcelain: Reduction-fired 15 x 5 x 5 inches
Charity Davis-Woodard Rocks Cup, 2012 Porcelain: Wood-fired 3 x 3.5 inches
Charity Davis-Woodard Liquor Set, 2010 Porcelain: Wood-fired 8 x 5 x 5 inches (bottle)
Josh DeWeese Liquor Pot, 2012 Stoneware: Wood-fired 6 x 6 x 5 inches
Josh DeWeese Whiskey Cups, 2012 Stoneware: Wood-fired 3 x 3 inches
Josh DeWeese Whiskey Cups, 2012 Stoneware: Soda-fired 3 x 3 inches
Josh DeWeese Whiskey Cups, 2012 Stoneware: Salt-fired 3 x 3 inches
Josh DeWeese Liquor Set, 2012 Stoneware: Salt/soda-fired 12 x 7 x 6 inches
Kenyon Hansen Hot Toddy Pitcher, 2012 Porcelain: Soda-fired/Reduction 10 x 7 x 5 inches
Kenyon Hansen Cups, 2012 Porcelain: Soda-fired/Reduction 4 x 3 inches
Hot Toddy Pitcher (detail)
Jason Hess Whiskey Set, 2012 Porcelain: Wood/Soda-fired 7 x 4 inches (bottle); 2 x 2.75 inches (cups)
Jason Hess Whiskey Set, 2012 Porcelain: Wood/Soda-fired 10 x 3.5 inches (bottle); 2.5 x 2.25 inches (cups)
Mirror Drawings, 2012 Graphite and Water Color on Board 6 x 6 inches
Jason Hess Whiskey Set, 2012 Porcelain: Wood/Soda-fired 9 x 4 inches (bottle); 2.25 x 2.75 inches (cups)
Matthew Hyleck Bourbon Bottle and Tumbler, 2012 Stoneware, Shino, Ash: Cone 10 reduction 9 x 5 x 4 inches (bottle) ; 4 x 3 inches (cup)
Doug Jeppesen Whiskey Cup, 2012 B-mix: Wood-fired 3.5 x 3 inches
Doug Jeppesen Bourbon Bottle, 2011 B-mix: Wood-fired 11 x 4.5 x 2 inches
Doug Jeppesen Three Flasks, 2013 B-mix: Wood-fired 6 x 4 x 4 inches (each)
Jayson Lawfer Whiskey Sets, 2012 Porcelain with Silica Sand: Soda-fired 8 x 5 x 5 inches (bottle)
Jayson Lawfer Whiskey Bottle (detail)
Jayson Lawfer Whiskey Cups (detail)
Jayson Lawfer Whiskey Cups, 2012 Stoneware, Shino Glaze: Soda-fired Various sizes
Jayson Lawfer Whiskey Cups, 2012 Porcelain with Silica Sand: Soda-fired Various sizes
Matt Long Whiskey Flask, 2012 Porcelain: Soda-Fired 6 x 4 x 1 inches
Matt Long Sipper Cup and Dimple Cup, 2012 Porcelain: Soda-Fired 3 x 3 inches (Sipper) 3.5 x 4 inches (Dimple)
Dimple Cup (detail)
Dan Murphy Whiskey Bottle, 2012 Porcelainous Stoneware: Wood-fired 14 x 10.5 x 3 inches
Dan Murphy Cup & Saucer (detial)
Dan Murphy Cups, 2012 Iron rich clay: Wood-fired 3 x 3 inches
Cup & Saucer, 2012 Iron rich clay: Wood-fired 4 x 3 inches
Dan Murphy Bottle Iron rich clay: Wood-fired 18 x 12 x 34 inches
Lorna Meaden Whiskey Bucket, 2012 Porcelain: Soda-fired 10 x 5 x 4.5 inches
Lorna Meaden Shot Glasses, 2012 Porcelain: Soda-fired 2.25 x 2 inches
Cups, 2012 Porcelain: Soda-fired 3 x 4.25 inches
Lorna Meaden Whiskey Bucket, 2012 Porcelain: Soda-fired 11.5 x 5.5 x 4.5 inches
Lorna Meaden Flask, 2012 Porcelain: Soda-fired 6 x 3 x 1 inches
Jeremy Randall Yellow & Blue Flask, 2012 Earthenware: Oxidation-fired 8 x 6.5 x 3 inches
Jeremy Randall Red & Turquoise Flask, 2012 Earthenware: Oxidation-Fired 7 x 4.5 x 2.5 inches
Jeremy Randall Blue & Green Flask, 2012 Earthenware: Oxidation-Fired 6 x 5.5 x 2.5 inches
Jeremy Randall Styrofoam Sipping Cups, 2012 Earthenware: Slipcast, Oxidation-Fired 2 x 1.5 inches
Brad Schwieger Bourbon Bottle, 2012 Stoneware: Soda-fired 13 x 5 x 5 inches
Brad Schwieger Whiskey Cups, 2012 Stoneware: Soda-fired 4 x 4 inches
Brad Schwieger Bourbon Bottle, 2012 Stoneware: Soda-fired 10 x 7 x 3 inches
Skunk Jug (rear)
Josh Stover Skunk Jug, 2012 Earthenware, slip and underglaze: Lowfire 12 x 12 inches
Josh Stover “W.H.I.S.K.E.Y.” Flasks, 2013 Earthenware, slip and underglaze: Lowfire Various sizes
Jack Troy Shino Cups, 2012 Porcelain: Anagama-fired 3 x 2.5 inches
Erik Zohn Hip Flask, 2013 Stoneware, Underglaze, Lustre: Cone 10 Reduction, Enamel Firing 5 x 4 x 1.25 inches
Erik Zohn
Hip Flask, 2013 Stoneware, Underglaze, Lustre: Cone 10 Reduction, Enamel Firing 5 x 3.75 x 1.25 inches
Study in Line, 2010 Graphite on Vellum 12 x 18 inches
Erik Zohn Flask with Cups & Stand, 2013 Stoneware, Underglaze, Lustre: Cone 10 Reduction, Enamel Firing 5.75 x 10 x 3.5 inches
Erik Zohn Cityscape Whiskey Cups, 2013 Stoneware, Underglaze, Lustre: Cone 10 Reduction, Enamel Firing 3.5 x 3 inches each
Erik Zohn Flask with Ash Tray, 2013 Stoneware, Underglaze, Lustre: Cone 10 Reduction, Enamel Firing 6 x 10 x 3.5 inches
A RT I S T B I O G R A P H I E S
Ben Bates (Libertyville, IL) earned his
she focuses on wood-fired porcelain
BFA at Kansas City Art Institute and
pottery. A part-time community
his MFA at Southern Illinois University.
college instructor, Davis-Woodard has
After school, Bates served as the head
also taught workshops for clay guilds,
Resident Ceramic Artist at Crabtree
universities and craft schools such as
Farm, a living museum in Lake Bluff,
Anderson Ranch and Arrowmont School
Illinois. He was Personal Studio Assistant
of Arts and Crafts.
to Ken Ferguson (1993-1995) and to Ruth Duckworth (2004) and is currently a
Josh DeWeese (Bozeman, MT) is an
Studio Artist, Instructor and Studio
Assistant Professor of Art teaching
Technician at the College of Lake County
ceramics at Montana State University
in Grayslake, IL.
in Bozeman, and served as Resident Director of the Archie Bray Foundation
Charity Davis-Woodard (Edwardsville, IL) for the Ceramic Arts in Helena, Montana established her home-based rural studio
from 1992-2006. DeWeese has exhibited
after earning her MFA from Southern
and taught workshops internationally
Illinois University, Edwardsville in 1997.
and his work is included in numerous
Drawing inspiration from both the
public and private collections.
decorative arts and the natural world,
Kenyon Hansen (Helena, MT) makes soda Matthew Hyleck (Baltimore, MD) is a and wood fired utilitarian ceramics in
resident artist of Baltimore Clayworks
Helena, Montana, where he is currently
whose functional pots have earned him
a long term resident at the Archie Bray
a Maryland State Arts Council Individual
Foundation for the Ceramic Arts. Hansen
Artist Fellowship Award in Craft both in
received his BFA from Finlandia University
2007 and 2005. Hyleck was identified
International School of Art and Design in
as an “emerging artist” in the May 2008
2002. Upon graduating he continued his
issue of Ceramics Monthly. He currently
studies as an apprentice to Simon Levin,
serves as the Director of Education at
as well as a studio assistant at Penland
Baltimore Clayworks, Mt. Washington
School of Crafts.
campus.
Jason Hess (Flagstaff, AZ) lives in Arizona
Jayson Lawfer (Chicago, IL) is a potter
and instructs at Northern Arizona
and director of The Nevica Project
University. As an “avid wood-firer”, his
art gallery. After graduating from
research for over 15 years has focused on
the University of Montana, Lawfer
the alchemy of the process. Hess’ work
completed artist residencies at
is either utilitarian or refers to utility in
Guldagergard in Denmark, The Archie
form while the presentation is more like
Bray Foundation, A.I.R. Vallauris in France
characters relating to one another. He
and Lillstreet Art Center. His talents have
holds an MFA degree from Utah State
granted him the opportunity to present
University.
lectures and lead workshops in Mexico, Italy and the USA.
Matt Long (Oxford, MS) received his MFA
Lorna Meaden (Durango, CO) received
from Ohio University in 1997 and his
a BA from Fort Lewis College and an
BFA from The Kansas City Art Institute
MFA in ceramics from Ohio University.
in 1995. He is currently an Associate
She has recently been a resident artist
Professor and Head of Ceramics at The
at the Archie Bray Foundation in Helena,
University of Mississippi. He has been a
Montana, and at the Anderson Ranch Arts
potter for 30 years, and currently resides
Center in Snowmass Village, Colorado.
in Oxford, Mississippi where he teaches
She was featured as a demonstrator
and has a home studio.
and lecturer at the National Council on Education in Ceramic Arts, as well as
Dan Murphy (Logan, UT) has 26 years
Utilitarian Clay V: Celebrate the Object.
experience firing wood-burning kilns
She is currently a studio potter in
and recently participated in the Wood
Durango, as well as Adjunct Professor of
Fire TAS 2011 international conference
Art at Fort Lewis College.
in Tasmania, Australia. He has also conducted visiting artist and wood-
Jeremy Randall (Tully, NY) received an
firing lectures and has been featured in
MFA in Ceramics from the University
exhibitions at universities and art centers
of Florida, and a BFA in Ceramics from
nationally and abroad, including Northern
Syracuse University. His work references
Arizona University, the Jingdezhen
rural American architecture and antique
Ceramic Institute in China, and the Hongik
rural implements layered with time,
University of Seoul, Korea.
function and history.
Brad Schwieger (Athens, OH) has been
Jack Troy (Huntingdon, PA) is a teacher,
teaching at Ohio University since 1990
potter, and writer retired from Juniata
and is presently a Professor of Art and
College in 2006, where he taught for 39
Ceramics Area Chairman. Prior to that he
years. He has led over 185 workshops
was an Associate Professor at Vincennes
at colleges and art centers in the U. S.
University in Indiana (1985-1990).
and abroad. His first book, Salt Glazed
Schwieger received his MFA from Utah
Ceramics, was published in 1977. In 1978
State University in 1983 and his BFA from
he built Pennsylvania’s first anagama-
the University of Iowa in 1981.
style kiln as well as personal anagamas at his home in 1987 and 2006. In 1995 he
Josh Stover (Minneapolis, MN) is
published Wood-fired Stoneware and
currently making work at Northern Clay
Porcelain.
Center in Minneapolis, MN. He grew up in Florida and recently graduated with a
Erik Zohn (Chicago, IL) recently received
BFA in ceramics from the University of
a bachelors degree, focusing in ceramics,
Florida. His intention is to make useful
from Bowling Green State University. He is
pottery that injects some humor and
currently an Artist in Residence at Lillstreet
playfulness into the user’s everyday
Art Center in Chicago. Drawing aesthetic
routine. Cartoon imagery, animals and
inspiration from architecture and design
rural culture communicate a comforting
Erik aims to create functional objects that,
and laid-back feeling.
through their tactile and visual qualities, enhance the experience of use.