2019 NCECA Juried Student Exhibition by NCECA

This exhibition is presented by NCECA in cooperation with:

ÂŠ 2019 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: Kelly McLaughlin, We Share the Weight, 2018 Catalog Design: Candice Finn Projects Manager: Kate Vorhaus

www.nceca.net

2019 NJSE Participating Artists Molly Allen

| Ohio University

Brooke Armstrong Chase Barney Ray Brown

| University of Minnesota

| The University of Mississippi

Christy Chor

| Sheridan College

Charles Cook

| Utah State University

Brandi Cooper

| ASU, Herberger Institute for Design and the Arts

John Domenico

| Pennsylvania State University

Katriona Drijber Jen Dwyer

| University of Montana

| Utah State University

| University of Notre Dame

Jonathan Green Alexa Harding Donte’ Hayes

| University of Montana

| Southern Utah University

| University of Iowa

Teresa Larrabee Jennifer Masley Will McComb

| University of North Texas | Kent State University

| The University of Mississippi

Ashton Keen

| The University of Mississippi

Anna Marie Valenti | Maine College of Art

Yeonsoo Kim

| University of Georgia

Nicole Winning | University of Massachusetts, Dartmouth

Lucas Knowles

| ASU, Herberger Institute for Design and the Arts

• Graduate • Post-baccalaureate • Undergraduate

Amy Young | Kansas City Art Institute

2019 NCECA Juried Student 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

Juror Statement | Linda Nguyen Lopez We want to thank all of the students who submitted an application to the 2019 NCECA Juried Student Exhibition. It was fascinating to see the breadth and depth of work being made around North America, which made the jurying process enjoyable but extremely difficult. This exhibition reflects our particular tastes and interests, and what we found compelling within the pool of applicants. Hopefully, this will not be the last time you will apply for an exhibition, and some of you may jury exhibitions of your own in the future. In light of that, we thought it might be helpful to share some insight of the process for future reference. We were individually tasked with doing an initial review of 938 images and providing a rating for each image. This took many hours over a series of days and pages of notes for later discussion. To be honest, it can be exhausting to look at so many images in one sitting because your ability to assess the work can be affected. To offset this and maintain balanced judgement, we both went through the pool multiple times to see if anything was passed over the first time through. In a few instances, some pieces that were overlooked by one of us and would be noticed by the other. This provided for a thorough and comprehensive process. We then met through a series of conference calls with members of the NCECA staff and board who provided support but did not weigh in on which pieces should be included. The discussions were thoughtful, honest, and with two jurors, there was a healthy balance of bias checks. It is always difficult to assess three-dimensional objects based on photographs, but hopefully with our experience, we were able to ascertain the quality of the work through the images provided. On the other hand, the images needed to include enough information to be accurately reviewed, or to put it more bluntly—please take good photographs of your work. After looking through the pool together a number of times, we came to similar conclusions about which pieces to include (although we both had some favorites not shared by the other) or not. There was no theme set for this exhibition, and we did not have one of our own, so we found ourselves gravitating to pieces that were executed well. In our discussions, good execution included conceptual development, craftsmanship, ambition, simplicity, design, relevance, and utility among other things. There were many excellent pieces that didn’t make it into the exhibition, often with a small margin of separation. We also considered an overall balance to the types of work, trying to have a fair representation of sculptural, utilitarian, installation, figurative, vessel, abstract, etc. Lastly, there were more practical elements such as the size of the pieces in relation to how much space is available at the venue and how many to include overall.

Juror Statement | Steven Young Lee Congratulations to the students whose pieces were selected. We are thrilled to see the next generation of ceramic artists who display strong concept, innovation, and techniques. The outcome could very easily change with different jurors, another year, or a new group of applicants, so please do not be discouraged if your work was not selected. Rather, we encourage you to be persistent and to keep working hard in the studio for the next opportunity. A huge thanks to Brandon Schnur, Kate Vorhaus, and Brett Binford for their support throughout the process. Linda Nguyen Lopez (b. 1981, California) received a BFA from California State University–Chico and an MFA from the University of Colorado Boulder. Lopez has exhibited her work in New Zealand, England, and throughout the United States including Crystal Bridges Museum of American Art, Bentonville; Craft and Folk Art Museum, Los Angeles; Long Beach Museum of Art, Long Beach; The Hole, New York; Fisher Parrish, Brooklyn; and the Jane Hartsook Gallery at Greenwich House Pottery, New York. She has been an artist in residence at The Clay Studio, Archie Bray Foundation for the Ceramic Arts, c.r.e.t.a.Rome, and Greenwich House Pottery. Lopez is a recipient of the Lighton International Artist Exchange Program Grant and the Artist 360 Grant. She is represented by Mindy Solomon Gallery in Miami, Florida. Steven Young Lee has been the resident artist director of the Archie Bray Foundation for the Ceramic Arts in Helena, Montana since 2006. In 2004-05, he lectured and taught at numerous universities throughout China as part of a one-year cultural and educational exchange in Jingdezhen, Shanghai, and Beijing. In 2005-06 he was a visiting professor at Emily Carr Institute of Art + Design in Vancouver, B.C. Lee has lectured extensively in North America and Asia. In the Fall of 2016 he was one of four artists featured as part of the Renwick Invitational at the Smithsonian Museum in Washington, D.C. In March 2013, he participated on a panel, “Americans in the Porcelain City,” at the Metropolitan Museum of Art in New York. Also in 2013, he was one of several international artists invited to participate in New Blue and White, an exhibition at the Museum of Fine Arts in Boston, Massachusetts that featured contemporary artists working in the blue-and-white tradition of ceramic production. In 2019, he will have a solo exhibition at the Portland Art Museum. Lee received his BFA and MFA in ceramics from Alfred University. Originally from Chicago, he lives in Helena with his wife, Lisa and their two children Gavin and Florence.

Venue Statement | Soo Visual Arts Center Soo Visual Arts Center (SooVAC) is honored and excited to host the NCECA Juried Student Exhibition inÂ our exhibition space. SooVAC places a high value on providing a space for emerging talent of all disciplines and this exhibition will present a perfect opportunity to highlight new voices in the field of ceramics. Soo Visual Arts Center is a non-profit arts organization that has shown a diverse cross section of over 2,800 under-represented artists since opening in June 2001, with approximately 12,000 visitors per year. As a leader in discovering new talent and with a strong focus on emerging artists, SooVAC offers free year-round exhibition programming coupled with educational support, artist talks, workshops, events, and printed publications. Our curatorial focus promotes contemporary artists whose work challenges and expands conventional notions of aesthetics and ideology. Since 2011, a rotating panel of Minnesota artists/arts professionals has curated our exhibitions. We believe that the engagement of Minnesotaâ&#x20AC;&#x2122;s experienced arts community members in the presentation of exhibitions at SooVAC adds diversification to our programming, enhances our relevance to expanded audiences, gives voice to a broader spectrum of Minnesota artists, and continues the tradition started by our founder, Suzy Greenberg, of being primarily artist-curated. Our current panel consists of Betsy Carpenter, Pao Her, Carolyn Payne, Gregory Rose, and Megan Vossler. Along with our free, year-round, five-days per week exhibition programming, we value the opportunity to collaborate through partnerships. These include the continuing Arts and Aging program with Walker Methodist, the upcoming 18th year collaboration with the Minneapolis College of Art and Design to exhibit the work of their graduate students; and Collab, a 12-month experiment in cross-disciplinary collaboration featuring three residencies followed by public presentations, funded by a grant from the National Endowment for the Arts. Participating artists work in pairings that combine various disciplines: Christopher Harrison and Laurie Van Wieren; Michael Kleber-Diggs, Megan Meyer and Christopher Selleck; and Heid E. Erdrich and Rosy Simas. We also have two annual group exhibitions, the Untitled Exhibition Series, our renowned juried exhibition series, that brings in national/international figures in the arts to be guest jurors, and our holiday shop that exhibits over 50 local artists.

NCECA Student Directors At Large | Brandon Schnur & Ashlyn Pope As our jurors write to the accomplishments of the artists represented in this year’s exhibition, we would like to acknowledge this newly re-named exhibition might impact students of ceramic art in higher education in this and subsequent years. Formerly, the National Student Juried Exhibition (NSJE), NCECA’s Board of Directors determined to open this year’s exhibition to students enrolled in higher education programs throughout North America. Our conference travels around the country as we attempt to create real connections with new people with similar interests. The love of ceramics doesn’t just exist on a regional or national scale, it is the fundamental unifier that brings us all, as artists, together. So why would we contain ourselves to only U.S. based students when there is literally an entire world of student makers? The NCECA Student Director at Large position exists to advocate for students needs and desires by encouraging inclusivity, tolerance, and compassion. 2019 marks the opening of the NCECA Juried Student Exhibition to all North American schools, a crucial step in our goal of becoming a global exhibition. This year, the exhibition includes 34 pieces of art that not only represent the jurors’ aesthetic, but people from around the world studying in North America. The work represents each artist’s story, background, unique experiences, and love of the medium. We welcome them to Minneapolis and thank everyone who contributed to the more than 900 images considered through this call.

Molly Allen, The Blue of the Distance, 2018 Ceramics and synthetic hair 20” x 12” x 6”

Brooke Armstrong, Roses used to be Red, 2018 Terra cotta, porcelain, glaze, stain, and wire 21” x 10” x 10”

Chase Barney, Untitled Still Life, 2018 Earthenware, glaze, glitter hot glue gun sticks, acrylic rhinestones, spray paint, wood, bricks, and rope 57” x 48” x 3” Photo credit: Prerna

Ray Brown, Low Pitcher, 2018 Soda-fired stoneware, flashing slip, glaze, and black underglaze 8” x 7” x 7”

Christy Chor, Wonder of natural forces, 2018 Stoneware and mixed coloured clay 9” x 15” x 7”

Charles Cook, Mug, 2018 Porcelain and glaze 2.75” x 4.5” x 3.5”

Brandi Cooper, Salvaged, 2018 Clay, glaze, wire, and sand 10” x 8” x 6” Photo credit: Mario Manguia

John Domenico, Denver Jar I, 2018 Wood-fired stoneware 24” x 22” x 22”

Katriona Drijber, Canister Pairing, 2018 Porcelain, slip, and glaze 4.5” x 5” x 5” each

Jen Dwyer, Persephone Vase, 2018 Porcelain, glaze, luster, lace, found furniture, and wallpaper 24” x 15” x 15”

Jonathan Green, Towel-Rack, 2018 Ceramics, paper pulp, wood, and found object 44.5” x 13.5” x 6”

Alexa Harding, The Harvest, 2018 Ceramic, latex paint, ink, and Krylon® Clear Coat 18.5” x 17” x 10”

Donte’ Hayes, Empire Juice, 2018 Ceramic, underglaze, glaze, gold luster, and colored rubber 11” x 12” x 6”

Ashton Keen, Champ, 2018 Soda-fired red clay and thin slip 13” x 7” x 8”

Yeonsoo Kim, Listening2, 2018 Hand-built stoneware, black stain, and clear glaze 15.7” x 15.7” x 15.7”

Lucas Knowles, Ode To Collision, 2018 Black stoneware, wood, latex paint, and chrome vinyl 50” x 67” x 5”

Teresa Larrabee, Big Hair #6 (Blinding), 2018 Stoneware, slip, rhinestones, acrylic, and glitter 36” x 27” x 15”

Jennifer Masley, An acquisition, 2018 Earthenware, stoneware, slip, and glaze 19” x 19” x 13”

Will McComb, Architectonic Vase, 2018 Stoneware and glaze 12” x 11” x 5”

Kelly McLaughlin, We Share the Weight, 2018 Stoneware, encaustic, textile, batting, and metal stand 24” x 70” x 24” Photo credit: Cassidy Brauner Photography

Bethany Panhorst, Wir sind bettler. Hoc est verum., 2018 Clay and acrylic paint 8” x 72” x 20”

Clarissa Pezone, Sadly I’m Bradley, 2017 Earthenware and paint 21” x 11” x 11”

Amelia Rosenberg, Knowing, 2017 Stoneware and black slip 30” x 114” x 6” Photo credit: Jackson Martin

Jessica Sanders, Hang, Drape, Cover, 2018 Porcelain, stoneware, and copper wire 29” x 31” x 6”

Joshua Scott, Ewer, 2018 Wood-fired stoneware 8.5” x 4” x 2.5”

Chanakarn Semachai, Fire Before Fall, 2018 Stoneware, underglaze, glaze, and lustre 16” x 6” x 6”

Chanakarn Semachai, Windows For Birdies, 2018 Stoneware, underglaze, glaze, and lustre 17” x 10” x 10”

Lilah Shepherd, Assemblage 001, 2018 Stoneware, porcelain, and underglaze 16.25” x 15.5” x 10.5”

Iren Tete, Where the Present Ends and the Shadows Begin, 2017 Porcelain and earthenware 22” x 36” x 3.5”

Iren Tete, untitled, 2018 Porcelain, vinyl, and wood 23” x 25” x 10”

Samantha Tsang, I’m Sick, 2018 White stoneware 22.5” x 15.5” x 8.5”

Anna Marie Valenti, Anchored by a Breath, 2018 Porcelain and terra cotta 35.5” x 12” x 7”

Nicole Winning, Un Govern Able Spaces 1, 2018 Photograph of performance and installation with paperclay, www.theaccumulatingbody.com 20” x 24” x 0” Photo credit: Kate Coutier

Nicole Winning, Un Govern Able Spaces 2, 2018 Photograph of performance and installation with paperclay, www.theaccumulatingbody.com 24” x 36” x 0” Photo credit: Kate Coutier

Amy Young, Safe Inside My Circle, 2016 Wood-fired stoneware, black underglaze, and enamels 15” x 15” x 1.5”

NCECA Executive Director | Joshua Green Years ago, while working with teaching artists who were preparing for a new program integrating the arts across the curriculum in an urban elementary school, I was fortunate to find myself in a training session with a visionary and accomplished Chicago arts activist. We were perhaps mid-way into a week of seminars, teaming experiences, and workshops, and one could sense that as the scale of the task before us became more vivid, fatigue and perhaps a bit of panic were beginning to take shape in the room. Sensing this, our group leader asked us to take a break from whatever assignment on which we had been focused, move around the room and sit beside the person we felt the least familiar with. Once resettled next to our near-stranger / partners, we were asked to engage in a conversation about what we were working on in our studios that we were the most excited or troubled about at the moment. Conversations that began bubbling up as murmurs, soon elevated in pitch, volume, and imagination. Unbeknownst to us, our leader had deployed a teen-aged photographer to move about the room and capture images of our conversant and emergent expressions. A few minutes passed, and the voices in the room finally began to wane, like distant moons obscured by clouds. Once silence arrived, the lights darkened, and our images were projected before us. Faces filled with laughter, eyes alight with glee, struggling to form expressions equal to the weight of the words and ideas. I recall watching these photographs fade in and out of view, dissolving one into the next, in slack-jawed awe. After a few more moments of silence, he said, “This is the power you bring as artists to this work… try not to forget it.” The most meaningful and difficult questions we are asked about our work, whatever it may be, often revolves around what makes it different, unique, difficult, or rewarding. How and where do we find joy and heartache? What will we do once we arrive there? How might we find our way back once we sense it’s gone missing? When I consider NCECA and what makes it tick… what makes my own heart beat and pulse race for the work associated with it, is embodied in the numbers and voices of students that increasingly play a role in the annual conference. How is it, I wonder, that in a time filled with so many reasons to seek out the safety of conventional paths, there can be so much energy, desire, and faith bound up in the imaginations of young minds coaxing ideas and expression out of elemental earth, water, and fire? The 2019 NCECA Juried Student Exhibition once again shows us that this dance we do… this song we sing… with matter, and touch, and energy, is far

from exhausted. Kudos to our students who challenge themselves to say and do something new, and those who get there by revisiting the past, turning it through sheer invention, into something new. Deepest appreciation to our friends at Soo Visual Arts Center, and our exhibition jurors Linda Nguyen Lopez and Steven Young Lee for looking and considering deeply at the work. Thanks to our Student Directors at Large Brandon Schnur and Ashlyn Pope, as well as Exhibitions Director Brett Binford, and NCECA team members Candice Finn and Kate Vorhaus. Nothing in this catalogue comes into being without you. You remind me of the power we bring to this life through our work as artists, and to never forget it.

Jessica Sanders, detail of Hang, Drape, Cover, 2018

2019 NCECA Juried Student Exhibition The NCECA Juried Student Exhibition is a highlight in the array of experiences that the National Council on Education for the Ceramic Arts makes possible each year. Selected from images of work submitted by higher education students enrolled in programs of ceramic art throughout North America, this exhibition embodies the visions of next-generation creative inquiry through clay. Founded in 1966, NCECA is a nonprofit organization that fosters global education and appreciation for the ceramic artsâ&#x20AC;&#x201D;cultureâ&#x20AC;&#x2122;s bridge to the past and future. Because clay connects us to the earth and one another, we believe that learning and working with this material touches lives and builds relationships like no other artistic practice. Through endeavors like the NCECA Juried Student Exhibition, fellowships, and learner-centered programming, NCECA cultivates awareness of future makers and expands opportunities for artists.Visit nceca.net to learn more.

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