1
2018 NCECA National Student Juried Exhibition Award Sponsors Aardvark Clay Purchase Award KBH Merit Award Mudtools Merit Award Elmer Craig Merit Award Smith-Sharpe Fire Brick Supply Merit Award Studio Potter Merit Awards NCECA Graduate Award for Excellence 1st, 2nd, 3rd NCECA Undergraduate Award for Excellence 1st, 2nd, 3rd
This exhibition is presented by NCECA in cooperation with:
Š 2018 NCECA (National Council on Education for the Ceramic Arts) All rights reserved. No part of this book may be reproduced in any form without prior permission of the publisher. Cover Image: Andrew Castaneda, Untitled Catalog Design: Candice Finn Projects Manager: Kate Vorhaus
www.nceca.net
2018 NCECA NSJE Participating Artists Carolina Alamilla | Texas Tech University
Jessica Levey | Kansas State University
Molly Allen | Ohio University
Robert Lewis-Nash | Oberlin College
Tom Alward | Utah State University
Brandon Lipe | Edinboro University of Pennsylvania
Katayoun Amjadi | University of Minnesota
Jenna Livingston | Montana State University Billings
Alex Anderson | University of California
Will McComb | University of Mississippi
Marshall Argenta | Kent State University
Mel McKinley | OCAC Pacific Northwest College of Art
Collyn Aubrey | University of Colorado, Boulder
Kelly McLaughlin | Ohio University
Keith Becker-Lazore | Emmanuel College
Iva Milovanovic | Rhode Island School of Design
Cody Bloom | Indiana University of Pennsylvania
Tanner Mothershead | University of Iowa
Ariel Bowman | University of Florida
Steven Osterlund | California State University, Chico
Matthew Branham | University of Cincinnati
Clarissa Pezone | Edinboro University of Pennsylvania
Emily Brownawell | SUNY New Paltz
Hannah Pierce | Edinboro University of Pennsylvania
Bethany Butler | Edinboro University of Pennsylvania
Mallorie Roberts | University of Florida
Kimberly Canfield | West Chester University of Pennsylvania
Jessica Sanders | University of Texas at Tyler
Andrew Castaneda | Kansas City Art Institute
Carin Sankus | University of Florida
Sara Catapano | Edinboro University of Pennsylvania
Kathryn Schroeder | NCC Minnesota New Institute for Ceramic Education
Hoi Chang | Indiana University, Bloomington
Aliza Schweitzer | Alfred University
Guo Cheng | School of the Art Institute of Chicago
Joshua Scott | University of North Florida
Yen-Ting Chiu | Southern Illinois University, Carbondale
Jamin Shepherd | University of Texas
Katriona Drijber | Utah State University
River Soma | University of Connecticut
Lukas Easton | Rochester Institute of Technology
Mitch Springer | University of Notre Dame
Elizabeth Edwards | Southern Utah University
Claire Thibodeau | Syracuse University
Shauna Fahley | Pennsylvania State University
Kayla Thompson | University Of Oregon
Ben Galaday | University of Southern Florida
Kodi Thompson | Southern Illinois University, Edwardsville
Ben Harle | School of the Art Institute of Chicago
Meghan Tranauskas | Pennsylvania State University
Max Henderson | Arizona State University
Koen Vrij | Alfred University
Kirsten Heteji | Illinois State University
Stephanie Wilhelm | University of Florida
Rachel Hubbard | Maryland Institute College of Art
Timmy Wolfe | University of Iowa
Kwan Jeong | Syracuse University
Jessica Wolinski | Hartford Art School
Kari Kindelberger | West Virginia University
Matthew Wright | Texas Tech University
Patrick Kingshill | University of Nebraska, Lincoln
Erik Zohn | Ohio University
Bradley Klem | Pennsylvania State University • Graduate • Post-baccalaureate • Undergraduate
3
Juror Statement | Martina Lantin It has been an honor to select, in collaboration with Sam Harvey, the work for the National Student Juried Exhibition. As both a maker and an educator I am always curious to see what is being made in other schools and in other studios. The breadth of work selected for this year’s show demonstrates a diversity of approaches from the serious to playful, figurative to abstract, utilitarian to ephemeral. In selecting work for the show I considered that, through display, each piece would contribute to the story of the other. I was thinking about how the confluence of meanings and intentions can compose a larger view of our ceramic future. Technology is represented here alongside ancient construction techniques and both communicate a component of our present day experience. Clay, as one of the most ubiquitous materials and oldest of artifacts – will continue to remain relevant in all of its functional forms – utilitarian, symbolic, ritualistic and as abstraction. The malleability of this material ensures a never-ending depth of possibilities. I encourage each of you – those selected, and those who were not, to remain confident that you are a distinct voice that resonates within our field. Born in Montreal, Canada, Martina Lantin earned her undergraduate degree from Earlham College in Richmond, Indiana. She then continued to develop her skills as a potter through apprenticeships and production work in both Europe and the United States. She earned her MFA from Nova Scotia College of Art and Design University in 2009. Committed to the joys of working in earthenware, she continues to explore the history of functional ceramics. Her work has been exhibited across the United States and abroad. She has taught at Marlboro College in Vermont, led numerous workshops and currently teaches at the Alberta College of Art and Design.
Juror Statement | Sam Harvey The plurality of work submitted for NCECA’s 2018 National Student Juried Exhibition, was at once daunting, inspiring and uplifting. The artists’ submissions ran the gamut of subject matter, from the covertly political, to the deeply personal. It was an honor to select work that demonstrates earnest production, originality, play, innovation, humor, conviction and exploration of material, form, and content. For me, as an artist and gallerist, what the material continues to offer is its ability to capture mood, thought, sensation, and story with the gesture of the artist’s physical touch. Narratives can be expressed through bombastic use of scale and color, or through the recording of intimate touch captured when the clay was still soft and pliable. The range of work in this exhibition expresses the universal in the particular as an ongoing dialogue with precedents and questions to the future. Participating in the jurying process was a revelatory experience. I would like to extend a thank you to my fellow juror, Martina Lantin and to all of the students that submitted work. Sam Harvey received his MFA from New York State College of Ceramics at Alfred University and his BFA from the Kansas City Art Institute. He has been an artist in residence at the Sun Valley Center as well as the Anderson Ranch Arts Center. Sam has taught both nationally and internationally, including workshops at Anderson Ranch, Nepal, Taiwan and Japan. He has been shown at such venues as Lillstreet Arts Center, Chicago, Illinois; Santa Fe Clay, Santa Fe, New Mexico; Trax Gallery, Berkeley, California. Also a noted gallerist, along with his friend, artist, and business partner Alleghany Meadows, represents an array of leading ceramic art, painting and sculpture via Harvey/Meadows Gallery, in Aspen, Colorado.
5
Venue Statement | Pittsburgh Filmmakers / Pittsburgh Center for the Arts Pittsburgh Filmmakers / Pittsburgh Center for the Arts is excited to welcome the National Council on Education for the Ceramic Arts (NCECA) back to our campus as part of a city-wide exploration of current movements and conversations in ceramics. We invite artists, educators, and enthusiasts from Pittsburgh and around the country to experience the NCECA 2018 Student Juried Exhibition in our galleries, which feature over 60 works by young artists who are exploring new potentials in and extending the boundaries of ceramics and sculpture. Our galleries will also present three other exhibitions, Wood Fired and Crossing Paths featuring local artists’ work and a solo exhibition by Yoko Sekino-Bove from March 9 - April 22. Pittsburgh Center for the Arts is a leading regional, community-based resource for making and exhibiting ceramics by artists of all ages. The opportunity to present these exhibitions in conversation with one another underscores our mission to support the presentation of artwork by emerging talent in dialogue with veterans in the field. PF/PCA’s mission is to support artists and advance artistic excellence in the visual arts. We’re a communitybased, NASAD-accredited institution that offers year-round courses, access to equipment and studio space to artists, a regional residency program for artists, a regular exhibition program, a robust screening program that includes an annual film festival, and sales of work by our artist members in our on-site shop. Annually we serve 100,000 individuals of all ages.
NCECA Student Directors At Large | Naomi Clement & Brandon Schnur You miss 100% of the shots you don’t take. ~ Wayne Gretzky Count on the Canadian to make a hockey reference, eh? The truth is, I am not much of a hockey fan, but I do love this quote, and try to keep it as a mantra when I am applying to shows. There have been shows I have applied to that I thought I would never get into, and to my surprise I did. There have been shows I have applied to that I thought I had “in the bag”, and I did not. It is easy to take these things personally and get discouraged. The reality is that a lot of different factors go into making decisions in a juried exhibition.The important thing is to keep applying and keep putting your work out there — you never know which shot is going to make it. For the NCECA 2018 National Student Juried Exhibition, we had applications from 264 different artists across the United States. 500 works total that needed to be narrowed down to the 64 pieces you now see. There were many entries that the two jurors, Martina Lantin and Sam Harvey, were unanimous on, while other works were more strongly championed by one or the other of them. The conversations the jurors had were fascinating, and it was a true pleasure to hear two such talented artists discuss and debate the reasons behind their decisions. As an exhibition of student work, the 2018 NSJE is a snapshot of what is happening in undergraduate, graduate, and post-baccalaureate studios throughout the country. This diverse array of work simultaneously represents countless hours of work and research, as well as the seeds of new ideas that are just beginning to be realized. Congratulations to all the artists who applied – both those in the show, and those who did not make it this year – the future of our field looks bright indeed.
7
Carolina Alamilla, Connecting. Or trying to..., 2017 Ceramic, slip, rubber, metal wire, acrylic paint, and silicone 20” x 11” x 13”
Molly Allen, Waiting In-Between, 2017 Porcelain, synthetic hair, acrylic paint, and encaustic 24” x 42” x 5”
Tom Alward, 2 Bottles, 2016 Stoneware and glaze 11” x 11.5” x 6”
Katayoun Amjadi, Re Member Dis, 2017 http://www.dropbox.com/s/sneg6ya0jr6h0iq/Re Member Dis. mov?dl=0 HD video
9
Alex Anderson, Well, I guess this is Fine, 2017 Ceramic 23” x 11” x 5” Photo credit: Laura Casner
Marshall Argenta, T-Shirt, 2017 Ceramic and glaze 8” x 6” x 6”
Collyn Aubrey, Don’t Be So Dense, 2017 Ceramic and steel 14” x 14” x 8”
Keith Becker-Lazore, Ap[o]ptosis, 2017 Clay, glaze, and bright gold luster 5” x 11” x 5”
11
Cody Bloom, Watchers of the World, 2016 White stoneware, glazes, and slips 7.5” x 12.5” x 5” Photo credit: Kevin Turner
Ariel Bowman, The Fossil Record, 2016 Ceramic and mixed media 18” x 10” x 15” Photo credit: Kaleb Foshee
Matthew Branham, Self Portrait, 2017 3D printed ceramic 22.5” x 7” x 7”
Emily Brownawell, Hearth, 2017 Pit fired ceramic 5.5” x 9.5” x 12”
13
Bethany Butler, Piece of Cake, 2017 Terracotta, glaze, and lustre 5.5” x 5.5” x 5.5”
Kimberly Canfield, Help Me to Help You to Help Us: Noah, 2017 Red earthenware and linen 17” x 17” x 25”
Andrew Castaneda, Untitled, 2017 Ceramic and glass 21” x 15” x 5” Photo credit: Max Wagner
Sara Catapano, Mokita, 2016 Stoneware, glaze, and cement 40” x 28” x 28”
15
Hoi Chang, life, death, and blood, 2017 Porcelain 6” x 6” x 6”
Guo Cheng, Coming again and again, 2016 Slip cast colored porcelain from 3D printed model designed in Rhino software program 3” x 3” x 6” each
Yen-Ting Chiu, Daisy, 2017 Earthenware 5.75” x 5” x 6”
Katriona Drijber, “a voice in the fields” mug, 2017 Wheel thrown and carved stoneware, soda fired with flashing slip, and paint 3.5” x 4.5” x 3.5”
17
Lukas Easton, National Priorities, 2017 Wheel thrown and carved stoneware 60” x 28” x 28” Photo credit: Michael Conti
Elizabeth Edwards, Octopus Rings, 2017 White earthenware and glaze 11.75” x 12” x 6.5”
Shauna Fahley, Atlas, 2017 Clay, underglaze, and glaze 26” x 17” x 20”
Ben Galaday, germs and genes, 2017 Ceramic and mixed media 48” x 84” x 2”
19
Ben Harle, Memorial Plot, 2017 Glazed porcelain, unglazed bisque ware, and unfired vessels 15” x 30” x 96”
Max Henderson, Cookie Jar Set, 2017 Wheel thrown stoneware, soda fired 8” x 10” x 5”
Kirsten Heteji, Bumps, Lumps and Lines, 2017 Earthenware, slip dipped burn outs, self glazing clay, and yarn 9.5” x 19” x 8”
Rachel Hubbard, Steam Cultivator Jug, 2017 Stoneware, underglaze, glaze, decals, and luster 7.5” x 6.5” x 6.5”
21
Kwan Jeong, What to value, 2017 Porcelain and glaze 9” x 6” x 5”
Kari Kindelberger, Words Won’t Keep You, 2016 Porcelain 8” x 44” x 1.5”
Patrick Kingshill, Bowl and pile, 2017 Stoneware, earthenware, oak, and Hydrocal® 31” x 12.5” x 12.5” Photo credit: Nicole Cudzilo
Bradley Klem, Synthetic Shoal, 2017 Porcelain, china paint, and ceramic decal 22” x 7” x 7”
23
Jessica Levey, Telogen Effluvium, 2016 Ceramic, human hair, and mixed media 2” x 2.5” x 1”
Robert Lewis-Nash, Banana Field, 2017 Ceramic 5” x 48” x 72”
Brandon Lipe, Untitled, 2017 Wood fired white stoneware 14” x 9” x 9”
Jenna Livingston, Swollen Flesh, 2017 Ceramics, paint, and latex rubber 4” x 24” x 18” Photo credit: Randi O’Brien
25
Will McComb, Basket, 2017 Woodfired stoneware 12” x 7” x 6”
Mel McKinley, Notched Ceramic System for Cups, 2017 Slip cast ceramic and acrylic 15” x 14.5” x 8” Photo credit: Mario Gallucci
Kelly McLaughlin, Protector of the Fallen, 2016 Ceramic, underglaze, house paint, and resin 13” x 12” x 7” Photo credit: Rachel Newel
Iva Milovanovic, Self Portrait, 2017 Porcelain, glass, wood, yarn, rubber, and metal 66” x 33” x 33”
27
Tanner Mothershead, Mountain Top Removal, 2017 Ceramic, coal, Plexiglas®, and acrylic 9” x 12” x 5.5”
Steven Osterlund, Means of Production, 2017 Wheel thrown and altered clay and glaze 32” x 17” x 15” Photo credit: Marianna Chambard
Clarissa Pezone, Headcase, 2017 Earthenware and cold finish 16” x 15” x 10”
Hannah Pierce, Lil’ Bitches In My Head, 2017 Ceramic, wood, acrylic, lightbulbs, steel, and fishing line 47” x 40” x 10.5”
29
Mallorie Roberts, Redeposit, 2017 Ceramic and resin 13” x 22” x 12”
Jessica Sanders, Process | Connect | Mend, 2017 Porcelain and copper wire 28” x 31” x 4”
Carin Sankus, Tenuous Hum, 2016 Ceramic 12” x 14” x 3”
Kathryn Schroeder, Bread Bowl, 2016 Porcelain 9” x 10” x 10”
31
Aliza Schweitzer, Cake, 2016 Stoneware and glaze 7” x 13” x 13” Photo credit: Lauren Havel
Joshua Scott, Ewer, 2017 Wood fired stoneware 7.5” x 3” x 3.5”
Jamin Shepherd, Feed Jug, 2016 Coiled stoneware 15” x 5” x 5”
River Soma, The Exchange, 2017 Stoneware, colored slip, oxides, and glaze 9” x 7” x 18”
33
Mitch Springer, Monumental Dripstone, 2016 Soda fired porcelain, slip, oak, metal cleat, and adhesive 29” x 38” x 3”
Claire Thibodeau, Making, 2016 Raw porcelain 30” x 30” x 3”
Kayla Thompson, Line Table, 2017 Egyptian paste, construction cloth, caulking, and glow powder 25” x 25” x 25”
Kodi Thompson, Boards, 2017 Earthenware 30” x 30” x 2”
35
Meghan Tranauskas, Persona, 2017 Stoneware, majolica glaze, and maple 12” x 3.4” x .5”
Meghan Tranauskas, Mannequin, 2017 Stoneware, majolica glaze, and maple 5.5” x 9” x .5”
Koen Vrij, Afro Bun, 2016 Terracotta and terra sigillata 36” x 13” x 13”
Koen Vrij, Morning, 2017 Terracotta and glaze 38” x 23” x 18”
37
Stephanie Wilhelm, Couch & Comfort Plate, 2017 Porcelain 13” x 12” x 3”
Timmy Wolfe, La Cucaracha, 2016 Ceramic, Xerox® transfer, and gold luster 10” x 12” x 1.5”
Jessica Wolinski, Morning Teapot, 2017 Wheel thrown stoneware and glaze 7.5” x 7” x 6”t
Matthew Wright, Erosion of Self, 2017 Clay, BFK Rives® paper, Akua® ink 13” x 60” x 1”
39
Erik Zohn, Dust Today/Tomorrow, 2016 Digital print 35” x 27” x 0” Photo credit: Cassidy Bauner
41
NCECA Executive Director | Joshua Green There was no question that I really responded to this material. I had been interested in music and art, among other things, but I had a visceral and profound response to the way clay felt in my hands. I had a wonderful teacher in high school, Miss Miles, who helped me look for a pottery school because I decided I really wanted to be a potter. I wasn’t interested in being an artist at the time. I wanted to make functional objects that would better lives by virtue of the pleasure of beauty. I was very interested in the whole issue of keeping craft traditions alive. I should add that the loss of control when the object that you’ve just made is put inside a kiln and you don’t know how it will turn out is a big part of the magic that I love.~ Betty Woodman The ceramic artworks selected for the NCECA 2018 National Student Juried Exhibition by distinguished jurors Martina Lantin and Sam Harvey reveal numerous examples of the ways that ceramic art continually expands and renews its vocabulary through teaching, learning, and creation. Throughout the exhibition, clay, one of our most ancient mediums, revels in new forms of experimentation while glancing back with admiration toward near and distant exemplars. While still tethered to pragmatic and utilitarian traditions, formative imaginations wrestle with clay’s indeterminate nature to reveal new worlds of color, form, and possibility that had been waiting to be discovered. Throughout his tenure at Alfred University (1951-1981), NCECA’s founding leader, Ted Randall sought to transform the school’s identity as a school of art and design. From its inception, Randall envisioned NCECA’s primary purpose as gathering teachers, students, and scholars together to share work and ideas. The focus on teaching and learning remained a constant in NCECA’s work over time. Initially, the student show was organized by volunteer board members who also acted as conference directors. As NCECA evolved and expanded, the student exhibition opened a call for entry to students living within the multi-state region of each year’s conference. Beginning in 2009, this regional show became national in scope with leading makers pressed into service as jurors for selection of work.
Even as new technologies become increasingly absorbed into teaching and learning with clay, tactile and tacit knowledge remain essential to understanding the ceramic medium. Rather than a one-way deduction of sensation, touch involves a constant two-way interchange between sensation and reception. Working with materials, processes, and focus, skills, innovations, and ideas become embodied through objects. Creatively accomplished students evolve through mentorship that builds connections. Some are built within the mind of the creator as neuropathic connections. Others are divergent branches that open the mind to connections between disparate events, stimuli, and ideas. Clay reaffirms our connection to the earth and one another today, even as it draws us closer to the diverse and knowing people who precede us. As NCECA recently passed its first 50 years, the contributions to our community made by great teachers has made their losses all the more impactful. NCECA is immensely grateful to our legacy of creative educators past and present, including those like Miss Miles, who though less well known, transformed ceramic art’s history by putting clay into a student’s hands along with a spark of hope and freedom. The artists who ventured to be part of this exhibition stand on their shoulders. Our hosts at Pittsburgh Center for the Arts, our Student Directors at Large, Naomi Clement and Brandon Schnur, and Exhibitions Director Leigh Taylor Mickelson have all made significant contributions to this effort. NCECA staff members Candice Finn and Kate Vorhaus have treated all documentation and details related to publication of the work in this catalogue with care, genuine interest, and heartfelt respect.