2019 NCECA Claytopia, Minneapolis, MN Program Guide by NCECA

National Council on Education for the Ceramic Arts

O3 . 27–3O .2O19 • MINNEAPOLIS, MN

PROGRAM & EXHIBITION GUIDE

53rd Annual Conference of the

National Council on Education for the

Ceramic Arts

The National Council on Education for the Ceramic Arts advances creation, teaching and learning through clay in the contemporary world. Engaging body and mind in imaginative inquiry, clay connects us to authentic tactile and cognitive experiences. Ceramic art shapes our interactions with one another while connecting us to cultural traditions, knowledge, and innovations. As a 501(c)(3) non-profit organization, C NCECA is committed to the fair and equal employment of people with disabilities. M Reasonable accommodation is the key to Y this nondiscrimination policy. In accordance with Americans with Disabilities CM Act and Section 504 of the Rehabilitation MY Act, accommodations will be provided to qualified individuals with disabilities when CY such accommodations are directly related CMY to performing essential functions of a job, K competing for a job, or to enjoy equal benefits and privileges of employment. As well, every reasonable attempt will be made by NCECA to accommodate persons with disabilities in attendance at all NCECA events; information and assistance will be available at registration and information kiosks, as well as through NCECA event staff.

This project is supported in part by an award from the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov. Additional support is provided by the Minnesota State Arts Board through an appropriation by the Minnesota State Legislature.

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NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

JACKSONVILLE UNIVERSITY

VISUAL ARTS Masters of Fine Arts

SMART. CREATIVE. FEARLESS

Low Residency

Bachelor of Fine Arts Bachelor of Arts

WWW.JU.EDU

Ex Parte Communication by Dana C Tupa 2018

Animation Ceramics Film Glass Graphic Design Illustration Photography Sculpture

Execuctive Director’s Welcome

Greetings from the NCECA President/ Registration

A Letter of Welcome from the Onsite Liaisons

Location, hours, and hotel information

Acknowledgements

NCECA Board and Staff/ Board Candidates and E-Ballot

About NCECA

2019 NCECA Awards

Convention Center Floor Plans

NCECA Gallery Expo

NCECA Projects Space

Resource Hall Exhibitors

Resource Hall Map

Program Details

Programs, Annual Conference, Exhibitions, Membership, Publications and Resources, Awards and Fellowships, Support NCECA Honorary Members, Fellows of the Council, Excellence in Teaching Award, Outstanding Achievement Award, and Regional Award for Excellence

53RD ANNUAL CONFERENCE

CONFERENCE PROGRAM & EXHIBITION GUIDE

Find your way to all of the conference events Learn about galleries from across the United States representing clay artists and their wares at the heart of the conference

Comprehensive listing for the Resource Hall

Details on all conference sessions and events

NCECA 2020 Opportunities

NCECA Juried Student Exhibition NCECA Annual Conference Program Proposals

NCECA 2019 Exhibitions

NCECA Annual: The Form Will Find Its Way: Contemporary Ceramic Sculpural Abstraction NCECA Juried Student Exhibition 22nd Annual National K–12 Ceramics Foundation Exhibition 27th Annual Cup Exhibition and Sale

NCECA Membership

2019 Exhibition Guide Introduction/ Getting Around the Minneapolis Region

How to find your way and get around this great city

Shuttles & Tours

2020 Programs Calendar

Exhibition Lookbook

List of Advertisers

Get to your favorite exhibitions with ease

Get a peek at a few exhibitions throughout the region

EXECUTIVE DIRECTOR’S WELCOME Welcome to Claytopia… The Minneapolis–Saint Paul region is home to one of the largest and most tribally diverse urban Native American populations. Comprised of many nations, the largest of the Twin Cities’ indigenous groups, the Dakhóta, has a cultural legacy that springs from a sacred place marked at the conf luence of the Minnesota and Mississippi Rivers that they call Bdóte. Their toponym for the place where we are gathered is Bdeóta Othúŋwe, or Many Lakes City. In her influential 1997 book, The Lure of the Local, Lucy Lippard wrote, “As I follow the labyrinthine diversity of personal geography, lived experience grounded in nature, culture and history, forming landscape and place, I have to dream a little, as well as listen to political wake-up calls.” Since the first moment I first heard Claytopia uttered, the construction of NCECA’s 53rd annual conference theme has resonated with another of Lippard’s key concepts: that of place as the locus of desire. Claytopia suggests the palpability of place in which the human imagination is celebrated for its resilience, invention, and relational capacities. A few months ago, while driving the beltway that circumvents our nation’s capital, my car filled with rhythmic pulses of a minimalist sonata… a Philip Glass composition stripped of familiar instruments. Rain thrumming the windshield, the percussive oscillations of wipers, became conjoined with text alerts emanating from my phone. The adverbial expression en route offers a poetic way to express a poignant moment of pause that can sometimes occur in the midst of a journey. This one took place on a late October morning not yet midway to Pittsburgh following NCECA’s autumn board meeting in Richmond, Virginia. I had been thinking about Claytopia … more specifically how it sprang from the linguistic imaginings of the 14th century when Sir Thomas More invented utopia from the Greek ou-topos meaning ‘no place’ or ‘nowhere’. But More’s invention was also a pun, playing on a nearly identical Greek word eu-topos meaning a good place. If words take on life when they enter the world and our minds, utopia’s heart beat murmurs a plaintive question—can a world be more perfect? Because the highway was filled with dense morning traffic another dozen miles would pass before I could pull over to read the first text, which came from my friend Rob in Philadelphia… “Just checking in to see if you are ok… so sorry for what has happened…” I was in that nowhere place one finds on the shoulder of an interstate. Mile markers and whatever radio station I had been listening to left me without a clue of the events to which his text referred. I phoned home to learn that a shooting had taken place in a synagogue a few miles from my home… multiple injuries… police still on the scene. Over the coming hours and days, we would learn a bit more about the 11 killed and five injured in a terroristic attack on worship services on October 27, 2018. Only a few days earlier, another hate-motivated shooting had claimed two lives outside a grocery store in suburban Louisville, Kentucky only a few minutes after the assailant had been captured on closed circuit video trying to enter a bible study session in a nearby church. As of today, www.gonviolencearchive.org records 33 additional mass shootings have taken place since these incidents.

Among the many remarkable moments of my messaging friend Rob’s Emerging Artist talk during the 2014 NCECA conference in Milwaukee was one particular image that rises to the surface of my consciousness at difficult times. In the photograph, the splash pan of his potter’s wheel is emblazoned with the tag, “This Machine Kills Hate.” It reminds me that experiences with clay offer common ground for the gratitude within our hearts, even in the presence of what might otherwise cause us to withdraw. Through our hands and by sense of touch, clay teaches that we are able to work through concepts, changes, and challenges whether in art, history, or daily life. Those who helped to launch and guide our journeys in ceramic art, teaching, and learning taught us to appreciate this process, to suffer failures with the knowledge they carry the seeds of learning, to persevere, and be attentive to the widest range of artistic traditions as sources for inspiration and points of departure. We started from many places and traveled many routes to reach this place, carrying Claytopia within. In a world filled with conflicts, ceramic art’s durability, continuity, and evolution bears witness to the power of human aspiration. Claytopia exists in each of you. We urge you to explore the community beyond the walls of the Minneapolis Convention Center and expand its impact. Get out to see ceramic art at venues hosting exhibitions in neighborhoods throughout the greater Twin Cities. Not to be missed will be The Form Will Find Its Way: Contemporary Ceramic Sculptural Abstraction. This NCECA Annual owes its curatorial vision of clay as a medium of risk and experimentation in contemporary art to Elizabeth Carpenter. The support of Howard Oransky and Térez Iacovino of the Katherine Nash Gallery, the Department of Art, the Harlan Boss Foundation for the Arts, and Continental Clay Company were also critical in supporting creation of new work for the exhibition by Alexandra Engelfriet. The NCECA Juried Student Exhibition at Soo Visual Arts Center includes work selected by Steven Young Lee and Linda Lopez from submissions by undergraduate, graduate, and post-baccalaureate candidates from throughout North America. Deepest appreciation to all of you who submitted program and exhibition proposals for all of us to experience. This conference would not have been possible without supportive friends, colleagues, and volunteers, from throughout the community who gathered with our Onsite Conference Liaisons Sarah Millfelt and Keith Williams. We are indebted to our host organizations for the 2019 conference, of Northern Clay Center and of Concordia University, as well as Sarah and Keith’s families and communities for sharing their tireless energy and brilliance.

Sarah Heitmeyer, from the National Student Juried Exhibition NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Ceramic Art at Alfred Alumni and Friends Reception Friday, March 29, 2019 6 – 8 p.m. Duluth Room 3rd Floor Hilton Minneapolis 1001 Marquette Avenue Minneapolis, MN 55403

Alfred University Division of Ceramic Art art.alfred.edu www.alfred.ceramics.com

Assisrtant Professor of Ceramic Art Jonathan Hopp.

Theodore Randall’s kiln, Alfred, NY. Kilns of Alfred Transactions with Fire, as viewed through the lens of Brian Oglesbee on exhibition February 21 – July 28, 2019

Alfred Ceramic Art Museum

Alfred Ceramic Art Museum at Alfred University ceramicsmuseum.alfred.edu @alfredceramics @alfredceramicartmuseum

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

GREETINGS FROM THE NCECA PRESIDENT | REGISTRATION Imagine a woman on an allweather, adult, tricycle, bundled up as she treks through the snow on her commute to teach ceramics at a local Community College. She is a passionate artist, potter, social activist, and educator who lives and commutes to work in Minneapolis, a city where, regardless of the temperature, people bike, live energetically, and embrace culture. It is also the destination for our 53rd annual NCECA’s conference, CLAYTOPIA. In addition, Minneapolis is home to the Pillsbury Mill, which used to be the largest flour mill in the world, a place where music, art and environmental actions become daily practice, where art venues like the Walker Art Museum and the well-known Fitzgerald Theatre in St. Paul resound with national audiences; where the muddy waters of the great Mississippi River cross longitudes with Prince’s dynasty at Paisley Park. There are environmental/social justice artists here, like Shanai Matteson and others, who opened the Water Bar and Public Studio, a place encouraging people to slow down and consider their relationship with place and ecology through the everyday act of drinking water. Minneapolis is also a Mecca for potters. Every May, nationally recognized potters join a well-established community of artists to show work on the St. Croix Valley Pottery Tour. Those who come know that they are making a pilgrimage to join others selling pots with a deep historical connection to the ceramic history of the Midwest. There is a conscious awareness of the Mingei-sota style of pottery that blends the examples from the region with the pottery lineage of Warren McKenzie, Bernard Leach; all heavily influenced by the oriental aesthetic of Shoji Hamada and Korean ceramics. As individuals, we come to NCECA because we value and love that we make art with clay while wanting to share this passion with each other. We come because we know the city we visit will inspire and tantalize us. Some of us are fledging makers, wide-eyed and excited to be with the others we have only seen on our Instagram feeds. Others of us recombine for soul-seeking fuel that keeps us going, those who may take a more measured assessment of our needs to be together. Regardless of where we are in life, we all live in a time of great weather extremes. We also are globally connected, engaging with our neighbors who may even live on different continents. Yet, a separateness has entered our culture and we know that these times demand our attention because so much is at stake. Our conference keynote and round table programming this year points to issues that are very close to my heart. The need for social justice, the escalating risks of climate change, and the importance of growing diversity into our membership from early childhood through higher education. I find that the need for service combined with a desire to work with clay in a time of anxiety to be an extremely important and satisfying combination.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Winona LaDuke, our keynote speaker, wrote, “There is no Social Change Fairy. There is only change made by the hands of individuals.” I agree. This is the time to work for what you believe in and for the future of our children. I ask you to act as the bridge to others in our larger community. Begin here at this conference and reach out and acknowledge someone with a moment of warm kindness in your eyes. When I reflect on service, I look within my own community as an artist. That would be to you, the members of NCECA. Here at NCECA, we are family and, as families go, many of us come from different backgrounds, have different tastes, and different values. But we have all experienced clay and, in turn, come from the family of touch. We are connected through the kinship of our fingertips and the intimacy that we create with our materials. To serve is to help, to act with conscientiousness and to openly acknowledge others. As we eat, talk, and listen to each other, consider the value of how to reach out back at home and be the bridge to others in your community, to someone younger or older, to someone who doesn’t look like you to express our mutual passion and vitality, one that we all have in common with clay and with our community. Be well and enjoy the conference and all that awaits you. Holly Hanessian NCECA President

REGISTRATION AND NCECA MERCHANDISE SALES Minneapolis Convention Center, Lobby A (lower level) Tuesday, March 26: 12 pm–6 pm Wednesday, March 27: 8 am–6 pm Thursday, March 28: 8 am–5 pm Friday, March 29: 8 am–5 pm Saturday, March 30: 8:30 am–11 am HOUSEKEEPING • Be courteous and TURN OFF your cell phone in all meeting rooms! • Tickets are required for bus tours and routes. • Complimentary WiFi is available in most public areas of Minneapolis Convention Center. • Event Name Badge Policy and Use: The event name badge serves as proof of conference registration and is required to be worn at all times for entry into the Resource Hall and into all NCECA programming rooms and halls. Exceptions include the following events that are open to the public: Projects Space Gallery Expo Opening Ceremonies Cup Exhibition and Sale K-12 Exhibition Past Masters

A LETTER OF WELCOME FROM THE ONSITE LIAISONS one of our 2019 Regional Award of Excellence recipients. The Weisman will tell the story of Mingei in Minnesota and how it has influenced generations of ceramic artists, in The Persistence of Mingei: Influence Through Four Generations of Ceramic Artists, which includes Mark Pharis, Linda Christianson, Jan McKeachie Johnston, Warren and Alix MacKenzie, Randy Johnston, Maren Kloppmann, Shoji Hamada, and others. Soo Visual Arts is among the ranks of non-clay centric organizations quite enthusiastically opening their doors to clay, hosting the 2019 NCECA Juried Student Exhibition, juried by Steven Young Lee and Linda Lopez. This year, the show is open to undergraduate, graduate and post-baccalaureate candidates studying in the US, Canada, and Mexico! Welcome to Claytopia! Those of us living in the upper Midwest generally don’t draw positive attention to ourselves, but when it comes to our ceramics and clay history, we might make an exception… and then feel guilty about it later. The Minnesota clay community has enthusiastically embraced the prospect of the NCECA conference for the past 24 months and has worked tirelessly to prepare a unique clay experience and a warm welcome for our NCECA friends. Some 24 years since the last NCECA Minneapolis, the clay happenings in this great city, state, and region have grown almost exponentially. More galleries and art centers are embracing ceramic art; more colleges and universities are ensuring future generations of clay makers and supporters; more makers are toiling away in their studios and are being rewarded for their efforts through grants from the Minnesota State Arts Board, and the Jerome and McKnight Foundations; more community members are getting in touch with their inner ceramic artists and pursuing lifelong learning opportunities in clay. Ask any of us how we feel about having NCECA back in Minneapolis and we’ll likely shrug our shoulders and say “it’s a good thing”, which is Minnesota for “Pinch me please, because I’m beyond thrilled at what is truly one of the most exciting ceramic-centric happenings to date in this great state of mine.”…or something like that. Our clay traditions—from the art pottery of the Red Wing Pottery, through the Mingei pottery tradition that took such deep roots regionally—now live side by side with explorations in contemporary ceramic art. Our regional educational efforts are grounded in robust K-12 programming right through to nationally recognized higher educational programs. Several top notch art centers supplement academic pathways by serving folks’ clay interests at all ages. Even our non-clay centric art centers (like book arts and textiles and glass) in a display of Midwestern support for NCECA have joined us to ensure the conference provides the best clay experiences. The University of Minnesota’s St. Paul and Minneapolis campuses have signed on to participate in the 2019 conference with a total of seven exhibitions between the sites. The beautiful Regis Center for Art will be the backdrop for the NCECA Annual Exhibition, which takes place in the Katherine E. Nash Gallery. The Form Will Find Its Way: Contemporary Ceramic Sculptural Abstraction includes works by 40 emerging and established artists of national and international stature, organized by guest curator Elizabeth Carpenter. Five invited artists include: Nicole Cherubini, Alexandra Engelfriet, Jessica Jackson Hutchins, Brie Ruais, and Anders Ruhwald. A jewel of the University of Minnesota and the city of Minneapolis is the Weisman Art Museum, led by the esteemed Lyndel King,

With a vision of Inspiring wonder through the power of art, the Minneapolis Institute of Art—MIA—is a free museum with 100+ year history. The Institute boasts a collection of art totaling over 89,000 objects, spanning 20,000 years of making, with Arts of Africa & the Americas; Contemporary Art; Decorative Arts, Textiles & Sculpture; Asian Art; Paintings; Photography and New Media; and Prints and Drawings. In conjunction with NCECA, MIA is mounting Living Clay-Artists Respond to Nature, which features recent works by Japanese clay artists responding to nature, alongside works in other media by Kusama Yayoi, Yoshida Ayomi, Sudo Reiko, Nakaigawa Yuki, Mori Aya, Koike Shoko, Katsumata Chieko, Futamura Yoshimi, Hattori Makiko, Kitamura Junko, Inaba Chikako, Fujikasa Satoko, and Tokumura Kyoko. Another beloved treasure of Minneapolis is Northern Clay Center, which advances the ceramic arts for artists, learners, and the community, through education, exhibitions, and artist services. Still in its toddler stage when NCECA last visited Minneapolis, the Center has grown dramatically in the last 20+ years. In its efforts to expose individuals to a wide variety of ceramic art that is beautiful, evocative, challenging, and innovative; provide clay learners with the best educational opportunities possible; and nurture, cultivate, and support ceramic artists in order to advance the greater field of the ceramic arts and enrich our local community, it serves clay experiences to thousands upon thousands of souls annually. NCC will host five onsite exhibitions and support four additional shows in the community. A good number of our talented local and regional makers would find themselves between a rock and a clay place without our friends at Continental Clay Company in NE Minneapolis. One for the Twin Cities’ two long time providers of raw materials/clay/ tools, and, frankly, good clay education, Continental Clay is the epitome of a family business and comprises those actually born into the clay business via their lineage and those who, over time, became family.Em Swartout, the granddaddy of Continental Clay, is being honored this NCECA as a Regional Award of Excellence Recipient (posthumously). And, Continental is hosting two NCECA concurrent exhibitions in the building they occupy. We could ramble on…and on…and on, as is our way in Minnesota, as there are so many clay gems in our midst. Instead, we’ll say enthusiastically, in our typical collaborative spirit and on behalf of our long and proud, (yes proud!) clay traditions, “Welcome to Claytopia”! Sarah Millfelt Keith J. Williams NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

ACKNOWLEDGEMENTS NCECA thanks the following for their support… Individual Donors Christopher Adams Linda Arbuckle Deborah Bedwell Susan Beiner Francesca Bini Bichisecchi Wally Bivins Glen Blakley Cindy Bracker Anne W. Bracker Gail M. Brown Joanne Brown Robert and Debbie Burger Doug Casebeer Dina Christians Mary Cloonan Constance Mayeron Cowles & Charles Fuller Cowles Ruth Crane Patrick Doust Jan Dreskin-Haig & Donald Haig Edward Eberle Barbara Frey Catherine Futter Beth Ann Gerstein Marsha Gold Josh Green & Denise Suska Green Carol Green Roberta Griffith Catherine Grundy Holly Hanessian Roger Harrison Robert Harrison Larry Hawk Peter Held Alexandra Hibbitt

Steve Hilton Angela Howell Bill Hunt Sue Hutton Kelly Kerr Reena Kashyap Ruth DeYoung Kohler Janet Kingan David Kirschenbaum Catherine Lagerman Jo Lauria Marge Levy Linda Lighton Suze Lindsay Robert Longwell-Grice Jim Melchert Ron Meyers Sarah Millfelt Minerva Navarrete Donna Nicholas Richard Notkin Jeff Oestreich Aysha Peltz Peter Pinnell Ashlyn Pope Rick and Alita Rogers Louise Rosenfield Donna Rozman Melinda Sanders Brandon Schnur Judith Schwartz Takuro & Hitomi Shibata Mark Shifman Deborah Sigel Jeffrey Spahn

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Chris Staley Susanne Stephenson Sarah Traver James Turnbull Russell Wrankle Rhonda Willers Keith Williams Vivian Wills Richard Wukich

Local Planning Commitee Kate Fisher Jill Foote-Hutton Ursula Hargens Summer Hills-Bonczyk Peter Jadoonath Mark Lambert Mark Lellman Cecile Lewis Robert Lieder Daryn Lowman Tippy Maurant Sarah Millfelt Korla Molitor Heather Nameth Bren Christian Novak Lazare Rottach Kyle Rudy-Kohlhepp Tricia Schmidt Phil Smith Rhonda Willers Keith Williams

Additional Conference Advocates Ta-coumba Aiken Ellen Corbett Emily Galusha & Don McNeil Jan McKeachie Johnston & Randy Johnston Maren Kloppmann Andrew Lee Constance Mayeron Cowles & Charles Fuller Cowles Jeff Oestreich Jasmine Swanson Matthew Wilhelm

Host Organizations Northern Clay Center Concordia University, St. Paul

Organizations Providing Financial and/ or In-Kind Programming Support and Media Support ArtWorks - Program of the National Endowment for the Arts, a federal agency The Chipstone Foundation Minnesota State Arts Board Sponsorship Fund University of Minnesota Katherine E. Nash Gallery Harlan Boss Foundation for the Arts Continental Clay Soo Visual Arts Center American Craft Council West Virginia University The Everson Musuem of Art The Burkholder Foundation The Sandoe Family in memory of Valri P. Sandoe

Conference Sponsorship and Support Conference App Sponsors: Alfred Ceramic Art Museum Minnetonka Center for the Arts Pottery Northwest Smith-Sharpe Fire Brick Supply The Clay Studio The Nevica Project Tucker’s Pottery Supplies

NCECA Juried Student Exhibition Award Donors: 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 Undergraduate and Graduate Student Awards

Businesses Supporting NCECA Artists AMACO/brent Bailey Pottery Equipment Corp Baltimore Clayworks Bracker’s Good Earth Clays Continental Clay Laguna Clay Company Leslie Ceramic Supply Mudtools NIDEC-SHIMPO America Corporation Royal Brush Smith-Sharpe Fire Brick Supply STARworks StudioPro

Conference Bag Sponsor: AMACO/brent

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

NCECA @ ST. KATE’S 2004 Randolph Ave. | St. Paul, MN 55105

Conversation Bowls, Monica Rudquist

ON VIEW DURING THE CONFERENCE

>> Accumulation, New work by Monica Rudquist & Judy Onofrio

Float, Judy Onofrio

Women Who Teach, group exhibition curated by Monica Rudquist Ceramic Highlights from the Fine Art Collection: Warren MacKenzie, Nan Bangs McKinnell & James McKinnell The Wonder of Batchelder: Clay-inspired History of Our Lady of Victory Chapel Student and Alumnae Show

PLEASE JOIN US FOR A RECEPTION MARCH 29, 5–9 p.m.

For more information, visit gallery.stkate.edu/exhibitions/nceca-st-kates

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

NCECA BOARD

NCECA STAFF

PRESIDENT Holly Hanessian Florida State University holly.nceca@gmail.com

DIRECTORS AT LARGE Julia Galloway University of Montana gallowaynceca@gmail.com

PAST PRESIDENT Marge Levy margenceca@gmail.com

Zach Tate Goshen Youth Arts zach.nceca@gmail.com

STEWARD OF THE BOARD Rhonda Willers boardsteward@nceca.net

Russell Wrankle Southern Utah University wranklenceca@gmail.com

TREASURER Reena Kashyap reenak.nceca@gmail.com

STUDENT DIRECTORS AT LARGE Ashyln Pope Pennsylvania State University ashlynpopenceca@gmail.com

SECRETARY Jill Oberman Red Lodge Clay Center joberman.nceca@gmail.com

Brandon Schnurr West Virginia University ncecasdal@gmail.com

EXHIBITIONS DIRECTOR Brett Binford Eutectic Gallery brett@eutecticgallery.com

2019 ONSITE LIAISONS Sarah Millfelt Northern Clay Center sarahmillfelt@northernclaycenter.org

PROGRAMS DIRECTOR Mary K. Cloonan mkcloonan.nceca@gmail.com

Keith Williams Concordia University, St. Paul williams@concordia.edu

COMMUNICATIONS DIRECTOR Cindy Bracker Bracker’s Good Earth Clays communications@nceca.net

2020 ONSITE LIAISONS Kelly Kerr Virginia Commonwealth University kkerr@vcu.edu Jeff Vick Visual Arts Center of Richmond jeffvick@visarts.org

NCECA OFFICE 4845 Pearl East Circle, Suite 101 Boulder, CO 80301 866-CO-NCECA (866-266-2322) 303-828-2811 Fax: 303-828-0911 EXECUTIVE DIRECTOR Joshua Green josh@nceca.net FINANCE & ACCOUNTING MANAGER Helen Anderson helen@nceca.net NCECA JOURNAL Jeff Guerrero journal@nceca.net WEB & COMMUNICATIONS MANAGER/ GRAPHIC ARTIST Candice Finn candice@nceca.net OFFICE MANAGER/ MEMBERSHIP COORDINATOR Jacqueline Hardy jacqueline@nceca.net CONFERENCE SPECIALIST Tammy Lynn tammy@nceca.net CONFERENCE MANAGER Dori Nielsen dori@nceca.net PROJECTS MANAGER Kate Vorhaus kate@nceca.net

2020 BOARD CANDIDATES AND E-BALLOT NCECA’ s Board elections are now taking place via e-ballot. Positions to be elected in 2020 include Director at Large and Student Director at Large. Information and brief video messages from the candidates are available to review at www.nceca.net/board-candidates/. The e-balloting system opened prior to conference and closes at 4pm EDT on Friday, March 29. All NCECA members who were active on or before March 6, 2019 received an evite to vote through SurveyMonkey. If you become a member while at conference, at the end of each day invites to your ballot will be sent out.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Lost & Found: Reitz + Gustin Collaborations March 11–April 4, 2019

NCECA reception: March 28, 6–9:30 Minnetonka Center for the Arts 2240 North Shore Dr, Wayzata, MN

The Art Center’s exhibit is open for viewing during regular building hours during the NCECA conference: Mon, Wed, Fri, & Sat 9am–4pm; Tues & Thurs 9am–9:30pm (left image) Reitz: Skirted Vessel, circa 1990s, stoneware, anagama-fired at the Morean Center for Clay, St. Petersburg, FL in 2017, 42 x 22 x 22”. (right image) Gustin: Cloud Series #1703, 2017, stoneware, anagama-fired, 24 x 26 x 20".

New Products & Demos

Booth 101

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

ABOUT NCECA Founded in 1966, the National Council on Education for the Ceramic Arts is a non-profit educational organization that provides valuable resources and support for individuals, schools, and organizations with a passion for the ceramic arts. The National Council on Education for the Ceramic Arts advances creation, teaching, and learning through clay in the contemporary world through welcoming and innovative experiences, discourse, and resources. Engaging body and mind in imaginative inquiry, clay connects us to authentic tactile and cognitive experiences. Ceramic art shapes our interactions with one another while connecting us to cultural traditions, knowledge, and innovations. NCECA convenes and engages people who care about ceramic art and education to cultivate learning, leadership, and excellence throughout the field. Building on transformative relationships regionally, nationally, and globally, NCECA strives to expand awareness of and deepen appreciation for the vitality and vibrancy of ceramic art, teaching, and learning within our technologically influenced world.

PROGRAMS ANNUAL CONFERENCE The annual NCECA conference is an opportunity to convene in a different city each year to discuss, investigate, and celebrate topics, people, and groups relating to the fields of ceramic art and learning. The conference features an awards ceremony, a keynote presenter and performance event; demonstrations, lectures, panel discussions, student-led, and K–12 centered forums; and a Resource Hall providing access to manufacturers/suppliers and non-profit exhibitors. Surrounding these core features of the conference are an array of exhibitions that expand awareness and deepen appreciation of ceramic art in venues throughout the conference region. EXHIBITIONS NCECA organizes and helps to site and promote exhibitions that increase public dialogue, recognition, appreciation, and critical investigation of ceramic art. NCECA Annual – The NCECA Annual is developed through the vision of a single curator/juror. This individual frames an organizing concept for the exhibition and invites five artists whose work will frame those curatorial ideas. Additional works and artists for the exhibition will be selected through an open call for submissions. The curator/juror will review these entries and make final selections for the exhibition. This model provides an opportunity for a particular viewpoint resulting from a unique, informed, and thoughtful vision about the field of ceramic art to emerge annually. Concurrent Exhibitions and Venue Originated Exhibitions are promoted by NCECA in regions surrounding its conferences. Proposals must be submitted online for review and approval by NCECA’s Onsite Conference Liaisons and committees that they organize. NCECA reserves the right to only promote exhibitions received through these systems. NCECA’s Juried Student Exhibition is open to those pursuing degrees in higher education programs located throughout North America. Works are selected by two distinguished artists working in the field.

PUBLICATIONS AND RESOURCES NCECA keeps its members informed of important developments in the field through the following publications: • NCECA Journal: Published annually, the Journal documents the presentations and events of each conference with reports, articles, and photographic essays. • NCECA e-News: A forum that provides information and a calendar of upcoming NCECA events important to all NCECA members • NCECA Directory: A member-accessible online listing of the current membership with contact information to promote communication among members. By default, NCECA members are included in an online directory accessible to other members. Any NCECA member may also choose to opt out of this directory by selecting a dedicated checkbox within her/his online profile • Special Publications and Videos: NCECA produces special publications focusing on topics such as exhibition catalogues and ceramic art resources in print and DVD media. AWARDS AND FELLOWSHIPS NCECA formally recognizes the outstanding achievement in its field with the following awards: Honorary Members, Fellows of the Council, Excellence in Teaching, Outstanding Achievement, Regional Award of Excellence, Emerging Artists, International Residency Awards, Regina Brown Undergraduate Student Fellowships, NCECA Graduate Student Fellowships, Multicultural Fellowships, and the Val Cushing, Bill Bracker, and Valeri P. Sandoe scholarships for high school students and educators from the conference region. SUPPORT NCECA is supported through earned and contributed income. The primary source of support comes through membership and registration fees. NCECA is a qualified 501(c)(3) not-for-profit educational organization supported by earned revenues, donations, and grants.

MEMBERSHIP Membership in NCECA empowers the leading nonprofit organization dedicated to the ceramic arts, teaching and learning to develop programming, exhibitions, and opportunities that support and elevate the field. NCECA has membership types for individuals, organizations, businesses, and galleries. Learn more about benefits and costs of membership at https://nceca.net/membership/.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

2019 NCECA AWARDS Honorary Members of the Council

Those nominated and selected as Honorary Members of the Council have made significant contributions to the field of ceramic art. Through this award, their creative work, critical thinking, and exemplary accomplishments are recognized as essential to ceramic art’s cultural impact and continual evolution.

Ranch Arts Center. Suffice it to say that his legacy will always be felt on the Ranch grounds. A native of Kansas, Doug Casebeer bounced between majors and institutions even failing out of the University of Oklahoma and working in a Los Angeles machine shop, before eventually completing his undergraduate studies at Wichita State University where he earned a BFA. His connection to the plains of this region are consistently a distinct visual marker in the work he makes. It is evident that no matter how long Doug remains in the Rockies, or to where ever he travels, the plains and grain storage structures that dot this landscape, have been embedded into his muscle memory. In the early 1980s Doug attended the New York State College of Ceramics at Alfred University where he earned his MFA. It was also during his time at Alfred that Doug met fellow ceramic artist Eddie Dominguez. They have remained dear friends and have maintained personal and artistic dialogues throughout the years. They continue to express their conversations through lively collaborations. The most recent iteration of their combined work will be on exhibit this year at Red Lodge Clay Center in Red Lodge, Montana

Doug Casebeer

by Kate Fisher

Casebeer’s philosophic creativity has fueled his fervor as a kind of global “ambassador of peace” for well over three decades. Through workshops and lectures, he believes in bringing grace and beauty into people’s lives through the art experience. His role as United Nations Production Advisor and Ceramics Consultant reads like that of a U.S. Secretary of State, with travels to Washington D.C., Taiwan, Mexico, Vienna, Japan, Chile, Geneva, and Nepal, among other destinations.   - Victoria Woodward Harvey, Ceramics Monthly, January 2016 Doug Casebeer joined the Anderson Ranch Arts Center staff, in 1985, as the director of the ceramics and sculpture program. Since then he has shaped the Ranch into a premier summer workshop destination. Casebeer’s commitment to the idea that workshop instructors are be there as teacher alone and not technician, is a unique approach. It affords the instructors that space and energy necessary to be effective teachers and allows the gifted technical support staff to offer consistent quality to the work being produced during workshops at Anderson Ranch. As the Ranch’s chair of the artist in residency, Casebeer helped to create a welcoming environment that fostered creativity within multiple disciplines. There is no way to adequately summarize how Doug’s 30 plus years have impacted all of the artists, teachers, students, staff and the community of Anderson 16

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

It was also during his time at Alfred that Casebeer, after mailing numerous applications with not so much as a phone call in return, saw a posting for a pottery technician for the United Nations program in Kingston, Jamaica. Three weeks later, and 11 months after the death of Jamaican music icon Bob Marley, Doug arrived in Kingston. Casebeer would spend a total of three years in Jamaica, during a period following intense street wars of the 1970s. Reporting directly to Jamaican Prime Minister Edward Seaga, Doug worked alongside locals to develop a cottage craft industry The experiences Doug had as a young “outsider” in Jamaica had profoundly life-shaping effects. Casebeer describes the impact of not getting a teaching job initially upon completing graduate school: “I came from a very comfortable place, and looking back, I am thankful that I didn’t get a teaching job when finishing school. The job that I took really forced me to learn about myself. Distance gave me a chance to understand making, and taught me about my art, my values, my inspiration, and helped me find which direction I was going.” Doug has exhibited his work extensively both nationally and internationally. His exhibition record includes a solo show at Trax Gallery, Berkeley, California and a two person show with Takashi Nakazato in Tokyo and Fukuoka, Japan. Doug’s art work is in numerous public and private collections around the world, including a permanent installation in 2007 at the Yingge Museum of Ceramics in Taiwan. He has served as pottery/ ceramics consultant to the U.N.’s Industrial Development Organization, and as a board member for the Carbondale Clay Center in Carbondale, Colorado. In 2009 Doug was elected to the International Academy of Ceramics in Geneva, Switzerland and was a featured artist at the Chinese Academy of Fine Art in Beijing. Doug’s service to the field has also involved outreach in rural Jamaican schools, technical support and assistance for Nepali potters, and advising art centers in Chile and Hawaii.

information gathered. The project will ultimately result in a book on the project, organized by kiln type and detailing the variables of each firing. This project has been so well received by wood-firers internationally that she continued by making and distributing 40 bowls while she was a demonstrator at Clay Gulgong, the international conference in Australia, which will again be returned to her. In 2020, she has been invited to execute this same project in China. The resulting data will provide unprecedented information to wood-firers and students throughout the world.

In the fall of 2018, Doug embarked on a new chapter of teaching and service. He will take his knowledge, enthusiasm, and expertise in kiln construction to another institution and group of students fortunate to have him. He is the newest Artist in Residence at the Oklahoma University School of Visual Arts. It should come as no surprise that in the short time he has been at OU School of Visual Arts he has already built a new version of the “little vic” soda kiln for the university.

Elaine Olafson Henry Elaine Olafson Henry is a ceramic artist, curator, writer, and local volunteer. She is the former editor and publisher of the international ceramics journals Ceramics Art & Perception and Ceramics TECHNICAL. She earned a BFA from the University of Wyoming and her MFA from Southern Illinois University at Carbondale and is now pursuing her MA in English at the University of Wyoming. She taught at Emporia State University in Kansas from 1996-2007 where she served as chair of the department of art from 2000-2007. Henry served as the President of the International Ceramics Magazine Editors Association (ICMEA) 2014-2016 and the National Council on Education for the Ceramic Arts (NCECA) 2002-2004. She is currently a Fellow of that organization and a Lifetime Member of ICMEA. Her work is internationally published, exhibited, and collected. Henry has lectured, demonstrated, and taken part in residences in more than 10 countries, including: Italy, Denmark, Ireland, Germany, Latvia, China, Taiwan, Australia, New Zealand, Hungary, and the U.S. She is an elected member of the International Academy of Ceramics.

Elaine’s efforts have always been about raising the bar in the field, whether in criticism, publication, exhibitions, or professionalism, and she has done this by example. Henry earned the BFA and MFA degrees in art. Ever open to expanding her knowledge and experience, she is currently working toward her MA in English at the University of Wyoming. She is writing her thesis on ‘Comparative Rhetorical Analysis of Contemporary Art Criticism and Contemporary Ceramics Criticism,’ in an effort to continue to raise the bar by encouraging and contributing to the critical discourse in the field.  - Mary Jane Edwards, Executive Director, Jentel Foundation

Winnie Owens-Hart From an early age, Winnie Owens-Hart’s parents stressed the value of education above all else, bestowing her with the sense that she could begin to discover worlds within the pages of books. Today she is recognized as one of the ceramic art community’s most progressively expansive polymaths… educator, artist, filmmaker, author, and critical thinker in matters of clay, art and culture.

In 2016, Elaine started work on a project called 50 bowls/50 states/50 woodfires, sending one bowl (each made with the same clay and glazed with the same glaze) to a wood-firer in each of the 50 United States. Each wood-firer documented the important aspects of the firing, according to a form provided insuring the consistency and comparability of the

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

2019 NCECA AWARDS Owens-Hart relocated from her native Virginia to Philadelphia in the late 1960s to study subjects ranging from ceramics to city planning. It was in those ceramics classes with their emphasis on pottery from China and Japan, or Wedgwood from England that Owens-Hart first posed herself to question, “What about African ceramics? If the oldest known humans are from Africa, they must have been making pots.” She taught at Howard University for more than 37 years and has conducted research, exhibited, and presented lectures internationally. Her career in ceramics began very early in life and has continued professionally since the 1970s. She opened her first studio in 1972 in Alexandria, Virginia. As a young art student, she imagined what pot-making and art must be like in Africa and then pursued that vision throughout undergraduate school. While teaching crafts in a Philadelphia public school, she discovered a film that demonstrated some African women hand-building a huge pot. She realized her dream of studying women’s traditional pottery techniques and culture in 1977, when she was selected to represent the United States and exhibit her ceramic work at FESTAC in Lagos, Nigeria. After receiving a Fellowship from the National Endowment for the Arts she returned that summer to work in the village. Eventually she took a job with the federal government of Nigeria teaching ceramics at a nearby university to enable her to continue apprenticing traditional pottery, and was eventually accepted as part of the community’s pottery culture. For the past 10-years she has worked with women in a pottery village in Ghana. As both a published author and curator, Owens-Hart has curated exhibitions primarily focused on contemporary African American artists and has also produced documentary films, including Style & Technique-Four Pottery Villages and The Traditional Potters of Ghana-The Women of Kuli. Over more than four decades, her work has been exhibited nationally and internationally with work in the collections of the Smithsonian, Kohler, universities, and private collections.

Excellence in Teaching

Recipients of the Excellence in Teaching Award are individuals who are near or at the end of a career dedicated to the practice of teaching (the award may be bestowed posthumously); have demonstrated excellence in their own creative work; have previous recognition for, and a history of, awards in teaching; and have highly visible former students in the field.

Lenny Dowhie

by Anna Calluori Holcombe

Professor Dowhie set a great example for perseverance, problem solving, and above all— making Art. His usual greeting to his students before class was, “Are you making Art today?” Just that simple phrase set the tone for the class—we were challenged to make Art every day. His class was student led—encouraging the senior students to mentor and teach the younger students, which built everyone’s confidence. - Gregory A. Byard, former MFA student

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Lenny Dowhie taught for 33 years at the University of Southern Indiana in Evansville (USIE). His tenure brought stability to their program that has become more rare in university ceramics programs. Lenny passed along his experiences as an international artist to his students. His research afforded them an exciting, current, and global view of the field. Recognized for his dedication, Lenny received the Evansville Mayor’s Arts Awards and the Arts Council of South West Indiana Art Educator of the Year Award. Along with his day job at USIE, Lenny has presented over 80 workshops, demonstrations, lectures, and exchanges worldwide. Noteworthy are the following: an Elite Resident Artist, Jingdezhen Ceramics Institute, Jingdezhen, Jiangxi, PR China (2017); Visiting Artist/ Lecturer at the Yingge Ceramics Museum, Taiwan (2010); featured Artist/ Lecturer at the 8th International Ceramics Symposium, Australian National University, Canberra (1996); Visiting Lecturer at Shigaraki International Ceramic Center, Japan (1992); and Artist through the USA/USSR Cultural Exchange, Moscow, Leningrad (1987). Lenny’s work has been shown in over 100 exhibitions and included in important books and journals in the field. His work is in the collections of some of the world’s best museums. Professionally, his activities have had national impact. He was a founding partner of Expressions of Culture, Inc., producers of the renowned Chicago International Exposition of Sculpture, Objects and Functional Art (SOFA) Chicago, NYC, Coral Gables, and Santa Fe. He continues his involvement in this arena as a Partner in Expo Chicago, the Art Fair Company, Chicago, Illinois, since 2011.

Regional Awards of Excellence

NCECA’s Regional Awards of Excellence are intended to recognize and celebrate people and organizations that have made important contributions in the region of the annual conference while also impacting the field on national or international levels.

Lyndel King Lyndel King has been the director and chief curator at the University of Minnesota’s Weisman Art Museum (WAM) for 40 years. She recently announced her pending retirement, effective June 2020, and given her service, the University and the Museum seek to endow her position as a final gift to the WAM.

Louis B. Marak by Stuart Asprey Louis Marak opened doors, and if you had the courage to walk through the threshold, he would help you reach your goals. I saw him do this for me and countless other students during my time at the Humboldt State University (HSU) ceramics lab. He was agenerous and supportive mentor to countless students. Lou created a challenging and creative environment at HSU for nearly 40 years, making exceptional impacts on his students and influencing a diverse field of ceramic artists including Michael Lucero, John Roloff, Skuja Braden, Ian McDonald, Ionna Nova Frisby, Brian Benfer, Nate Betschart, Jeff Irwin, Eva Champagne, Stuart Asprey, Brian Gillis, Colleen Sidey, Vince Pitelka, and Bryan Czibesz. His unique combination of casual delivery, pinpoint wit, serious criticism and self-deprecating humor created an interest and passion in his students. He would continue to solidify and support his students at HSU by quietly serving as an invaluable role model for how maintain rigorous teaching and art practices with lasting impacts. He treated students as individuals and challenged each one of us to find our voice, discover our niche within the ceramic world, and to strive to be the best artist in the room. Lou had an uncanny ability to breed confidence and empowerment in students without knowing it. He confronted each student with what we thought we knew about intent, content and process and then magically draw new work from us, leaving us convinced we figured it all out on our own. The impacts Lou has made through his teaching have been profound and continue to resonate, we owe a tremendous amount of gratitude to one person who changed so many people’s lives.

King joined the organization in 1978 and assumed the directorship in 1981. Her pivotal role has taken the museum, then the “University Art Museum”, from the narrow halls on the fourth floor of Northrop Auditorium to the striking stainless steel and brick building designed by Frank Gehry on the University’s East Bank Campus. Under her leadership the Weisman Art Museum has emerged as one of the top teaching university museums in the country creating innovative exhibitions, programs, and partnerships with artists, the University, and the community. King has overseen more than 200 exhibitions since 1981 and brought over 1.7 million visitors through the doors of the Weisman since it opened in 1993. King teamed with architect Frank Gehry to have the deconstructionist-styled building designed and attracted local entrepreneur Frederick R. Weisman to help fund the project, which originally cost $18 million to build. Again, in 2011, King collaborated with Gehry to have a $14 million, 8,100-square-foot expansion added to the existing structure. “From the very beginning, Lyndel promoted the need for a world-class university to have a world-class art museum on its campus,” said Gehry in a statement. “She has left a mark on the University of Minnesota’s campus that few other can claim. I got to be part of that process with her, and I can tell you that the Weisman Art Museum exists because of her indomitable spirit, her intelligence, and her perseverance.”

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Lyndel King, Photo by Rik Sferra

2019 NCECA AWARDS Today, over 25,000 artworks exist within the Weisman, more than 16,000 of which were accumulated into its collection during King’s tenure. The Weisman features both American art, traditional Korean furniture, and a large collection of works on paper and ceramics. The 2011 addition was critical to the museum’s ability to expand its ceramics gallery. Internationally respected potter Warren MacKenzie and Lyndel curated the exhibit for the reopening of the building expansion. They did not approach the selection with a particular framework in mind and then find ceramics to illustrate their ideas. Rather than begin with a preconceived curatorial framework to be fulfilled through a search for objects, their deep consideration of the museum’s holdings revealed inspired themes throughout the exhibition. Ceramics were a part of WAM’s collection almost from its first days as the Little Gallery. University President Lotus Coffman started the museum in 1934 to give students an opportunity to have art in their daily lives and as lifelong inspiration. Among the earliest pieces in the Weisman collection are figures created during the Han Dynasty in China, which was established around 200 BCE and lasted until about 220 CE. Also of note withiin the museum are works of Mimbres pottery available for research. Lyndel is known for taking good care of her staff, bringing her “troops” ample supplies of jelly beans. “It gives people strength,” she declared with authority. “I just know that sugar works.” Through the Great Recession, through debilitating staff cuts and other obstacles that might have stopped a different project with a different leader, King drove to fulfillment her longstanding vision of an art museum that would be pushy about pulling in students. “We are not a whatever building, and we didn’t want to be a whatever place,” she said. “We wanted to be a place that thrust itself into the middle of students’ lives and made them pay attention to art.” “She is a diva and the museum is a diva,” said King’s long-time friend Nina Archabal. “I can’t think of anyone else I know who would have done what Lyndel did at the Weisman. It’s that unique marriage of determination, personality, vision, commitment, and intelligence.

Warren MacKenzie, photo by Stephanie Archie of Archie Photo, photographed in his studio in Stillwater, MN 10/2015.

Warren MacKenzie (posthumous 1924–2018) Warren MacKenzie is widely regarded as one of the most important potters of our time. Not only is he the best in his field, but he has conducted himself with honesty and integrity. His adherence to those high standards has brought him admirers from around the world... Wherever I go, people say, ‘You’re from Minnesota; you must know Warren MacKenzie.’ -The late Joan Mondale, excerpt from the McKnight Foundation’s 1999 Distinguished Artist Award catalogue Perhaps no name is more highly and respectfully associated with the American studio pottery movement and its inspirational resonance with the values of the Mingei movement than Warren MacKenzie’s. He did not seek this recognition or leadership; rather, he became it through his passion, dedication, and daily studio practice. Warren’s commitment to the creation of the “honest” pot inspired his students and makers across the region, throughout the United States, and extended to international communities. The St. Croix River Valley, the area of Eastern Minnesota and Western Wisconsin bordering the lower St. Croix River, became and continues to be a ceramic-rich region, attracting makers, educators, collectors, and enthusiasts, in large part due to Warren’s long-time residence and established pottery in Stillwater, Minnesota. Warren’s journey in clay began in 1946 at the School of the Art Institute of Chicago, after he returned from serving in the army during World War II. His passion for clay and, specifically, pottery, was born, and he later started a pottery in the basement of the family home of his first wife, Alix [Alixandria Kolesky], whom he married in 1947 and had two daughters with (Tamsyn & Shawn) until her early death at age 40. Alix and Warren collaborated in the making process, with Alix decorating wares, and the couple later taught at the St. Paul Gallery and School of Art in St. Paul, Minnesota. Beginning in 1953, Warren taught ceramics in the Department

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

of Art at the University of Minnesota, where he is now recognized as a Regents’ Professor Emeritus, and in 2015 was awarded the Honorary Degree: Doctor of Humane Letters from the College of Liberal Arts. During his tenure, he influenced thousands of University students and young makers, many of whom have continued on to accomplished careers in ceramics, both as full-time makers and educators. In 1984, Warren married Nancy (Nancy Stevens/Spitzer), a textile artist who notably worked with found materials. Together they shared the Stillwater property, both working as artists. They remained married for 30 years until her passing from cancer in 2014. Warren was honored as a Regis Master by Northern Clay Center for his influence on 20th century ceramics (1997). His legacy and impact continue via Northern Clay Center through the Warren MacKenzie Advanced Award, which ensures opportunities for students and emerging artists to further their ceramic research and education, expanding their professional development. He was named a Fellow (1982) and received the Excellence in Teaching Award (2002) from the National Council on Education for the Ceramic Arts; received the Council’s Gold Medal from American Craft Council (1998), and the Distinguished Artist Award from the McKnight Foundation (1999). With his whole hearted approach to connecting with clay and evidence of the maker’s hand, Warren MacKenzie demonstrated a pathway for an inspired life as a maker with an impact reaching from and beyond the greater Minneapolis/ St. Paul region.

Em Swartout (posthumous 1929–2017) Clarence Lee “Em” Swartout is known throughout the Twin Cities region and beyond as patriarch of the Continental Clay family. Born February 6, 1929 in Chamberlain, South Dakota to Edwin and Alta Blanche Swartout, his father was an engineer for the Department of Interior who built roads and bridges on Indian reservations where Em spent the first 16 years of his life in North Dakota, Montana and Minnesota. He moved to Minneapolis and graduated from Washburn High School and the University of Minnesota. Swartout was a Navy Veteran serving in World War II and the Korean War on the aircraft carrier Antietam. He remained lifelong friends with his shipmates. In 1956 he began his professional career as a grain merchandiser with International Multifoods, Pillsbury, and Peavey companies. In 1973 he partnered with his long-time friends to build the Minnesota Clay business. In 1990 Em, his wife Corky, and additional family members established Continental Clay, a formidable business committed to caring about its customers, workers, and the integrity of their products. Since its founding as a family owned company, Continental Clay has focused on offering the widest selection of ceramic art and sculpting supplies with over 65,000 square feet dedicated to clay mixing, glaze production, research and development, and a retail store and gallery. Em Swartout never retired, staying involved in the lives of ceramic artists across the county. He loved artists and they loved him. He adored music from many genres, and shortly before his passing, took in a jazz show in New Orleans. He took great joy in his family, life, and love of fishing in Canada with friends and relatives. Em showed his generosity in many ways, volunteering with Catholic Charities, Hennepin County Corrections Facility, St. Stephen’s men’s shelter, Habitat for Humanity, natural disaster relief, Hmong refugee resettlement, and as an active member and volunteer at St. Thomas parish for 54 years. In his effort to help and support others, he was very open about his 34 years of sobriety in AA. Em was comfortable with everyone he met and was willing to help anyone in need. Rambunctious and silly were the sides of Em his clay friends witnessed out in the community. But his warmth, compassion, humor, integrity, and generosity too were ever-present.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

2018 NCECA AWARDS Outstanding Achievement Award

The NCECA Outstanding Achievement Award is bestowed upon individuals who have made a significant contribution to creativity and the ceramic arts with their work on a singular endeavor. This award is open to contemporary artists, educators, writers, and others whose work on a singular project goes above and beyond what would typically be considered his or her professional responsibilities.

Wukich remembers Cushing’s influence on his work and life through support of NCECA conference scholarships to regional high school students and educators in his mentor’s memory. “Val took me to the very first NCECA conference in East Lansing, Michigan in 1967. My support of this scholarship is a way of paying forward his generosity as a teacher and the influence of his expansive vision on my life.” Another way that Wukich has committed to the sustainability of ceramic art in education is through support of educator initiatives through the National K-12 Ceramics Exhibition Foundation. Wukich is also the founder of Potters Water Action Group, which has chapters all over the world dedicated to working on water quality issues. As an international coordinator for the initiative, Wukich has worked to set up production studios across the globe in countries such as Haiti, Nigeria, and Nepal. Potters Water Action Group strives to provide safe drinking water through education, research, development, and the dissemination of ceramic water filters

Mission… When we touch clay… clay

also shapes us. NCECA advances inclusive creation, advocacy, teaching and learning with clay in the contemporary world.

Richard “Dick” Wukich Richard “Dick” Wukich’s love of art began during his high school studies in Braddock, Pennsylvania. Over the years since then, he has transformed his love of making and teaching pottery into a multifaceted movement that supports those in need locally and globally. Wukich went on to study art at Edinboro University of Pennsylvania where he earned a bachelor of science in art education. Subsequently, he earned a master of fine arts degree from the New York State College of Ceramics at Alfred where he worked with NCECA founder Ted Randall, Daniel Rhodes, and master teacher and potter Val Cushing. Later, he taught high school for a year before accepting a teaching position at Slippery Rock University where he worked for 43 years, until retiring in 2011.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Warren MacKenzie, photo by Stephanie Archie of Archie Photo, photographed in his studio in Stillwater, MN 10/2015.

Michael Multicultural Fellowships Multicultural Fellowships provide support for travel, lodging, food, registration, and membership to artists and educators of under-represented backgrounds participating in NCECAâ&#x20AC;&#x2122;s annual conference for the first time. Pooja Agarwala Malene Barnett Aaron Caldwell Daesha Francis Tamara Hervera Rashi Jain Jia Chiun Lily Jones Asia Mapp Walter Moore Neha Pullarwar Valleri Rami Vanna Ramirez Anthony Romero Maria Emilia Steiner Robin Turnage Linda Zhang

Regina Brown Undergraduate Student Fellowship Regina Brown Undergraduate Student Fellowships provide support for independent research by those pursuing ceramic art studies in bachelors degree programs. Emily Gordon | University of Wisconsin-Stout, Menomonie, WI Charles Barger | Florida State University, Tallahassee, FL

Graduate Student Fellowship NCECA Graduate Student Fellowships provide support for independent research by those pursuing ceramic art studies within masters degree and higher level programs. G.V. Kelley | University of Florida, Gainesville, FL Kourtney Stone | Georgia State University, Atlanta, GA Megan Thomas | Utah State University, Logan, UT

Sherrill NCECA BOOTH

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3 - 12 month residencies and grants for emerging and mid-career artists

Exhibitions and sales gallery representation

MN NICE: New Institute for Ceramic Education

Workshops and classes

Studio space, kilns, and professional development

Opportunities for ceramic artists at all stages of their careers 24

NCECA 2019 â&#x20AC;˘ 53rd Annual Conference Program â&#x20AC;˘ Minneapolis, Minnesota

2019 American Pottery Festival (Sept. 6 - 8)

Development and resources for art educators

NORTHERNCLAYCENTER.ORG

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M101 A-C (each section)

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LEVEL 1 NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

NCECA GALLERY EXPO NCECA is thrilled to continue the extremely popular Gallery Expo in Minneapolis. Located in front of the Resource Hall, you will find and be able to purchase exceptional finished ware from top galleries across the country. This area is free and open to the public, and these dedicated galleries will be offering gallery talks on the opening day of the conference. ARTSTREAM NOMADIC GALLERY Artstream Nomadic Gallery has been putting ceramic art on the street since 2002. This unique and aesthetically forward exhibition space has presented contemporary studio pottery in more than 250 venues across the country, from Seattle to New York, Houston to Minneapolis. Exhibiting artists include: Lydia Johnson, Ayumi Horie, Lorna Meaden, Chris Gustin, Matt Repsher, Steven Young Lee, Michael Connelly, Simon Levin, Tara Wilson, and Mike Helke. EUTECTIC GALLERY Eutectic Gallery is Portland, Oregon’s premiere contemporary ceramics gallery. We host 24 ceramic exhibitions per year as well as maintain a diverse retail area. Eutectic curates both established and emerging artists pushing the boundaries of clay as we know it. Exhibiting artists include: Nick Weddell, Jose Sierra, Naomi Clement, Paul Donnelly, Dennis Meiners, Keith Simpson, Mitchell Spain, Tim Kowalzyck, Asato Ikeda, and Jimin Lee. GANDEE GALLERY The Gandee Gallery, located near Syracuse in upstate New York, is committed to showing the best in handmade objects and fine art, with a special emphasis on utilitarian ceramics. Established in 2009, the gallery features 4-5 special exhibitions, including the annual Almighty Cup Juried Exhibition. Exhibiting artists include: Noel Bailey, Andrea Denniston, Susan Dewsnap, Rachel Donner, David MacDonald, Colleen McCall, Ted Neal, Eric Pardue, Jerilyn Virden, and Errol Willett.

RED LODGE CLAY CENTER It is the mission of Red Lodge Clay Center to share the importance of art in everyday life. We host residencies, workshops, lectures, gallery exhibitions, and educational programming that fosters the creation and exhibition of the highest quality of work in contemporary ceramics today. Exhibiting artists include: Elaine Coleman, Steve Godfrey, Martha Grover, Perry Haas, Ben Jordan, Brett Kern, Matt Long, Ron Meyers, Sean O’Connell, and Sue Tirrell. SPINNING EARTH POTTERY We feature the work of Susan Filley, Fong Choo, Cathy Broski, Justin Lambert, Anne Egitto, Herrick Smith, and owner Danny Meisinger. There is a large body of work from each artist. Our artists participate in the gallery talks and are available during expo to answer any questions about their work. THE CLAY STUDIO Everyday Ordinary: Art of the People is a display of contemporary ceramics and a collection of essays reflecting the principles and philosophies of 20th century Mingei traditions for a new generation. We celebrate the 45th anniversary of The Clay Studio with 45 artists invited to participate. Exhibiting artists include: Stuart Gair, Holly Walker, Ahrong Kim, Jordan McDonald, Sue Tirrell, Joseph Pintz, Nick Weddell, Stanley Mace Anderson, and Melissa Weiss.

KANSAS CITY URBAN POTTERS KC Urban Potters is an artist run collective of studio potters working in an urban setting. Our mission is to expose the public to functional pottery with a high standard of craftsmanship. We are exhibiting the work of our members and a select group of potters from across the U.S. and Canada. Exhibiting artists include: Sarah Pike, Catie Miller, Bede Clarke, Jana Evans, Albion Stafford, Erica Iman, Jessica Brandl, Melissa Weiss, Kyla Toomey, and Chandra DeBuse. NORTHERN CLAY CENTER For over 25 years, Northern Clay Center has advanced the ceramic arts for artists, learners, and the community, through education, exhibitions, and artist services. We operate out of Minneapolis and retain an online and national presence through our sales gallery, exhibitions, and artist grants. Exhibiting artists include: Derek Au, Birdie Boone, Pattie Chalmers, Brett Freund, Bianka Groves, Randy Johnston, Jan McKeachie Johnston, Candice Methe, Ron Meyers, and Ted Saupe.

Chris Pickett, Liquor Bottle, Kansas City Urban Potters

OBJECTIVE CLAY Objective Clay is a collective of makers who create meaningful objects for everyday use. Objective Clay was founded in 2012 with a mission to support each other and give back to the community. We participate in group residencies, curate group and solo shows, and fund craft education scholarships. Exhibiting artists include: Jennifer Allen, Sunshine Cobb, Bryan Hopkins, Lindsay Oesterritter, Kip O’Krongly, and Doug Peltzman.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Matt Long, Sippin’ Cup, Red Lodge Clay Center

PROJECTS SPACE NCECA’s Projects Space is a platform for ceramic artists to create and present works during the annual conference that incorporate clay as medium in time-based, performative, relational, or site-responsive work. Artists will create their works onsite in a publicly accessible area of the Minneapolis Convention Center. Engagement with visitors begins Tuesday evening, March 26 and evolves through Friday afternoon, March 29. NCECA Gallery Expo and Projects Space are free and open to the public. Ken Beidler This one day project entitled U(S)TOPIA allows participants to make and decorate a clay letter symbolizing their contribution as an artist to a shared CLAYTOPIA. The letters will be arranged in a spiral on the floor creating a larger piece of installation art. Kate Fisher and Erin Furimsky What’s YOUR story? The Mother of All Confessions is an open confessional booth for discussions surrounding maternity and parenting. Come share your parenting story and contribute to an ongoing and developing conversation about maternity and art. Visit bothartistandmother.com for more information. Kelly Cox and Eric Mullis Contemplate considers the social construct that supports a pot. Pottery in America exists in a weird relationship with materialism. We long for a more meaningful connection to objects...for transcendence. For pottery to fulfill that need it relies on the expectations generated by hype. Diane Nicholson and Mavin Kitshaw Join us for a World record attempt! Muddy Fingers Pottery wants to set the record for the largest teapot making class in the world at NCECA this year! 200 participants making a teapot each within a 3 hour class. Come spectate or even make your own at your workshop by following our live feed. Penelope Van Grinsven …reprocessing… is a pop-up demolition site for all unwanted ceramic work— a place for participants to smash their failures and amass a pile of shards from a multitude of individuals. Processed shards will be repackaged in postcards as a memento for participants to send out or save. Danille Weigandt Creating Memories in Utopia, if one was to describe Utopia, each description would be different. Everyone is invited to create a tiny cube to document their own idea of Utopia. Whether they create just one or stay and create many is up to them. The participant is then asked to leave those cubes behind in the installation.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

RESOURCE HALL EXHIBITORS RESOURCE TABLES

Access Arts ............................................... T88 schoolofservice.org accessCeramics........................................T115 accessceramics.org Adamah Clay Studios of Bethel Horizon ... T52 bethel-madison.org/adamah-clay-studios Alberta University of the Arts .................. T69 auarts.ca Alfred Ceramic Art Museum.................... T08 ceramicsmuseum.alfred.edu Alfred University Admin.......................... T06 alfredceramics.com Alfred University, School of Art and Design T07 alfredceramics.com Anderson Ranch Arts Center.................... T30 andersonranch.org Archie Bray Foundation............................T11 archiebray.org Arizona State University .......................... T38 herbergerinstitute.asu.edu Armory Art Center.................................... T90 armoryart.org Arrowmont School of Arts & Crafts........ T66 arrowmont.org Artaxis Organization, Inc ......................... T46 artaxis.org Artists in Residence Vallauris .................. T85 air-vallauris.org Ball State University ................................ T22 cms.bsu.edu Baltimore Clayworks................................ T14 baltimoreclayworks.org/ Brockway Center for Arts and TechnologyT43 brockwaycat.org/ c.r.e.t.a. rome ............................................ T18 cretarome.com Carbondale Clay Center ........................... T77 carbondaleclay.org CERF+...................................................... T04 cerfplus.org Clay Art Center......................................... T63 clayartcenter.org/ Clemson University.................................. T60 clemson.edu/caah/art Cobb Mountain Art & Ecology Project ... T80 cobbartandecology.org Concordia University ............................... T42 csp.edu/academics/art-studio-major/ Craigardan ................................................ T19 craigardan.org/ Cranbrook Academy of Art .................... T101 cranbrookart.edu Edinboro University of Pennsylvania ...... T61 art.edinboro.edu Florida Atlantic University....................... T35 fau.edu/vaah Florida State University............................ T03 art.fsu.edu

Fontbonne University............................... T73 fontbonne.edu/ Georgia State University .......................... T54 artdesign.gsu.edu/ Harvard Ceramics..................................... T28 ofa.fas.harvard.edu/ceramics Haystack Mountain School of Crafts....... T65 haystack-mtn.org Indiana University .................................... T59 indiana.edu/~finaweb/test/cms/fina/ Iowa Ceramics Center and Glass Studio T108 iowaceramicscenter.org Jacksonville University ............................ T17 ju.edu/cfa/visualarts/ Jingdezhen Ceramic Institute .................. T79 jci.edu.cn/ Kansas City Art Institute .......................... T15 kcai.edu Kansas State University ........................... T23 art.ksu.edu KC Clay Guild.......................................... T78 kcclayguild.org/ Kent State University ............................... T56 dept.kent.edu/art/ Kutztown University ................................ T58 www3.kutztown.edu/arteducation/ La Meridiana ............................................ T40 lameridiana.fi.it LUX Center for the Arts......................... T104 luxcenter.org Maryland Institute College of Art ............ T41 mica.edu Massachusetts College of Art & Design .. T27 massart.edu Medalta International Artists in Residence .T70 medalta.org Michigan State University........................ T75 art.msu.edu Montana State University......................... T96 montana.edu/art Morean Center for Clay............................ T53 moreanartscenter.org/center-for-clay/ Mudflat Studio.......................................... T67 mudflat.org National Clay Week.................................. T76 nationalclayweek.org/ New York Academy of Art....................... T86 nyaa.edu Northern Clay Center 1 ............................... T55 northernclaycenter.org Northern Michigan University ................. T72 nmu.edu/northern-michigan-university Oregon College of Art and Craft.............. T05 ocac.edu Penland School of Crafts.......................... T49 penland.org Pennsylvania State University.................. T39 sova.psu.edu/concentration-area/ceramics

NCECA 2019 â&#x20AC;˘ 53rd Annual Conference Program â&#x20AC;˘ Minneapolis, Minnesota

Peters Valley School of Craft ................... T50 petersvalley.org Pocosin Arts - School of Fine Craft ......... T20 pocosinarts.org Potters For Peace ...................................... T51 pottersforpeace.org Pottery Northwest..................................... T45 potterynorthwest.org Pioneer School Zanesville Clay Center ... T21 pszclaycenter.org Rhode Island School of Design ...................T57 risd.edu RIT, School For American Crafts ............ T12 cias.rit.edu/crafts San Diego State University ...................... T74 art.sdsu.edu San Miguel de Allende Ceramic Workshops... T62 sanmigueldeallendeceramicworkshops.com Saratoga Clay Arts Center........................ T29 saratogaclayarts.org Sierra Nevada College.............................. T01 sierranevada.edu Southern Illinois University, Edwardsville...T83 siue.edu/artsandsciences/art/ Studio Arts Boulder - Pottery Lab............ T16 studioartsboulder.org Studio Potter ............................................. T47 studiopotter.org SUNY, New Paltz ..................................... T34 newpaltz.edu/ceramics Syracuse University.................................. T71 syr.edu Taller de Terreno....................................... T32 tallerdeterreno.org The Clay Studio of Missoula.................... T97 theclaystudioofmissoula.org The Color Network................................. T100 thecolornetwork.org/ The Intl Museum of Dinnerware Design T10 dinnerwaremuseum.org 3 The Log Book........................................... T02 thelogbook.net The Ohio State University........................ T89 art.osu.edu The University of Oklahoma.................... T31 ou.edu/finearts/visual-arts The University of Tennessee .................... T09 art.utk.edu The Village Potters ..................................T110 thevillagepotters.com Touchstone Center for Crafts ................... T84 touchstonecrafts.org Truro Center for the Arts at Castle Hill.. T106 castlehill.org/ Tyler School of Art, Temple University..T114 tyler.temple.edu University of Arkansas ............................. T99 uarkceramics.org

University of Dallas.................................. T24 udallas.edu University of Florida ................................ T33 arts.ufl.edu University of Iowa.................................... T26 art.uiowa.edu University of Kansas ................................ T25 art.ku.edu University of Massachusetts, Dartmouth... T44 umassd.edu University of Miami ................................. T37 miami.edu/art University of Minnesota........................... T68 umn.edu University of Montana ............................. T81 umt.edu/art University of Nebraska - Lincoln............. T36 arts.unl.edu/art/ceramics University of North Dakota...................... T98 und.edu University of North Texas ...................... T103 art.unt.edu University of South Carolina ................... T82 artsandsciences.sc.edu/art University of Utah .................................. T120 finearts.utah.edu/ University of Washington....................... T105 art.washington.edu University of Wisconsin, Madison........... T64 art.wisc.edu Utah State University ............................... T92 art.usu.edu Virginia Commonwealth University ........ T93 arts.vcu.edu/craft Visual Arts Center of Richmond .............. T94 visarts.org Warren Wilson College ............................ T48 warren-wilson.edu Watershed Center for the Ceramic Arts ... T13 watershedceramics.org Wayne State University............................ T91 art.wayne.edu/ceramics/ West Virginia University .......................... T95 artanddesign.wvu.edu Western Carolina University .................... T87 wcu.edu Wichita State University......................... T107 www.wichita.edu Woodstock Byrdcliffe Guild .................. T102 woodstockguild.org COMMERCIAL BOOTHS

3D Potter, Inc ................................... 119-112 3DPotter.com Aardvark Clay & Supplies ...................... 622 aardvarkclay.com AMACO - brent ...................................... 317 amaco.com

Archie Bray Clay Business ........................ 109 archiebrayclay.com Arkon Mounts ......................................... 620 arkon.com Bailey Pottery Equipment Corp..................301-309 baileypottery.com Big Ceramic Store ................................... 615 bigceramicstore.com Bison Studios .......................................... 633 bisonstudios.com Blaauw Kilns....................................218-220 blaauwproducts.com Bracker’s Good Earth Clays ................... 419 brackers.com Cedar Heights Clay-Resco ...................... 501 rescoproducts.com Ceramics Arts Network ........................... 201 ceramicartsnetwork.org Ceramic Materials Workshop.................. 129 ceramicmaterialsworkshop.com Ceramica Collet S.A. .............................. 533 sio-2.com Ceramics Ireland ..................................... 531 ceramicsireland.org Chinese Clay Art Corp .....................421-423 chineseclayart.com Clay Art Center/Scott Creek Pottery ....... 405 clayartcenter.net ClayPuzzling.com ................................... 631 claypuzzling.com Clayscapes Pottery, Inc ........................... 504 clayscapespottery.com Continental Clay Company ..............318-320 continentalclay.com Coyote Clay & Color .......................503-505 coyoteclay.com Cress Manufacturing Company, Inc ....... 113 cressmfg.com Diamond Core Tools ................ 535-634-632 diamondcoretools.com Dirty Girls Pottery Tools .......... 327-426-428 kentuckymudworks.com Dolan Tools ............................................. 329 ceramictools.com Duncan Enterprises .................. 208-210-212 duncanceramics.com Enduring Images ..............................117-216 enduring-images.com Garrity Tools ........................................... 127 garritytools.com Geil Kilns ................................................ 621 kilns.com Georgies Ceramic & Clay Co ..........227-326 georgies.com

Giffin Tec .........................................331-430 giffingrip.com GR Pottery Forms ............................101-103 grpotteryforms.com GYST-Ink ................................................ 510 gyst-ink.com Haehl Ceramics ....................................... 617 haehlceramics.com Hammill & Gillespie ............................... 410 hamgil.com ICAN - Intl Ceramic Artists Network 200-202 ceramicartsnetwork.org L&L Kiln Manufacturing, Inc. .........314-316 hotkilns.com Laguna Clay Company ........................... 511 lagunaclay.com Larkin Refractory Solutions.................... 411 larkinrefractory.com Lebenzon Paintbrushes ........................... 226 lebenzon-paintbrushes.com Leslie Ceramic Supply ............. 229-231-330 leslieceramicsupply.com Master Kiln Builders ........................228-230 kilnbuilders.com Mayco Colors .......................................... 517 maycocolors.com Mid-South Ceramic Supply Co............... 518 midsouthceramics.com Milestone Decal Art ................................ 412 milestonedecalart.com Minnesota Clay Company....................... 222 mnclay.com MKM Pottery Tools, LLC ........ 600-602-604 mkmpotterytools.com Mudtools .................................. 601-603-605 mudtools.com MyPots.net .............................................. 131 mypots.net Neue Keramik-New Ceramics ................ 111 neue-keramik.de Olympic Kilns ..................................616-618 greatkilns.com Original Hi Roller ................................... 611 originalhiroller.com Paragon Industries L.P. ........................... 401 paragonweb.com Peter Pugger Mfg, Inc. ............. 400-402-404 peterpugger.com Saint-Gobain Ceramic Materials............. 526 refractories-saint-gobain.com Sanbao Studio ......................................... 322 chinaclayart.com Shimpo Ceramics .................................... 215 shimpoceramics.com

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

RESOURCE HALL EXHIBITORS CONT. SilkPaint / AirPen.................................... 123 sugarveil.com Skutt Ceramic Products....................413-417 skutt.com SlabMat. .................................................. 328 slabmat.com Smith-Sharpe Fire Brick Supply ............. 427 kilnshelf.com Spectrum Glazes ..............................105-204 spectrumglazes.com Speedball Art Products...... 429-431-528-530 speedballart.com Standard Ceramic Supply/ Ceramic Supply Chicago .................529-628 standardceramic.com STARworks Ceramics ............................. 613 starworksnc.org Taoxichuan-JAEA Intl Art Center ........... 629 jingdezhenstudio.com The Ceramic Shop................................... 209 theceramicshop.com The People’s Rib ..................................... 630 website coming soon Tucker’s Pottery Supplies, Inc. ........409-508 tuckerspottery.com U.S. Pigment Corp .................................. 619 uspigment.com WiziWig Tools ........................................ 408 wiziwigtools.com Xiem Tools USA ..............................520-522 xiemtoolsusa.com/

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

25'

15'

25'

PS1

PS2

15'

PS3

T115 T116 T117 T118 T119 T120

25'

3' DRAPE

T110 T111 T112 T113 T114

Mother of All Confessions & Contemplation

15'

T121 T122 T123 T124 T125

T105 T106 T107 T108 T109

T100 T101 T102 T103 T104

3' DRAPE

GE3

Gandee Gallery

20' 20'

GE1

Kansas City Urban Potters

40'

ENTRANCE

20'

T95

3' DRAPE

U(S)TOPIA & reprocessing

Creating Memories

T93 T92 T91 T90 T89 T88 T87 T86 T85 T84 T83

T98

T99 T82 T81

T97 T79 T78

T80

T77

T94

T96

3' DRAPE 3' DRAPE 3' DRAPE

T61 T60 T58 T59

T76 T74 T75 T73 T72

T57 T56 T55 T54

T71 T70 T69 T68

T53 T52 T51

T66

T67 T50 T49

T65 T48

T63

T64 T47 T46

T62

T34

3' DRAPE 3' DRAPE

T45 T44 T43 T42

T29 T28 T27 T26

T41 T40 T39 T38 T37

T25 T 23 T24 T22

T35 T33

T36 T21 T20

20' 20'

GE2

GE4

Northern Clay Center

Red Lodge Clay Center

3' DRAPE

T31 T30

T32 T18 T17

T19

3' DRAPE

3' DRAPE 3' DRAPE

T16 T15 T14 T13 T12 T11 T10 T9 T8 T7 T6 T5 T4 T3 T2 T1

Emergency Exits

218 216

119 117

GE6

201

20' Ceramic Arts Network 30'

209

GE8

Objective Clay

20' 20'

314

316

318

320

322

326

328

330

20' The Ceramic Shop 20'

10'

215

Spinning Earth Pottery

40'

10'

CONCESSION

GE7

Eutectic Gallery

20' 20'

GE5

200

The Clay Studio

101

202

103

208

109

204

210

111

105

212

113

10'

220

121

10'

222

123

50'

227

226

127

Shimpo Ceramics

229

228

129

10'

231

230

131

10'

25'

20'

10'

20'

10'

20'

EA1-6

20'

518

508

510

Green Task Force

401

504 20' Paragon Industries 20' 405

409

411

20'

10' Skutt Ceramic Products

413

417

Skutt Ceramic Products

419

10'

616

618

620

622

628

501

503

505

600

602

604

20' Laguna Clay Company 20'

511

517

Mayco Colors 40'

ENTRANCE

3' DRAPE

400

402

404

408

410

412

15' Emerging Artists

301

30'

Bailey Pottery Equipment

309

30'

Bailey Pottery Equipment

317

10'

520

10'

526

421

427

426

529

528

522

429

428

630

632

533 531

10'

634

535

16'

10'

15'

10'

Emergency Exits

530

423

431

430

AMACO 40'

327

329

331

10'

ARTSTREAM

Entrance

32'

10'

601

603

605

611

613

615

617

619

621

627

629

631

633

RESOURCE HALL FLOOR MAP

Resource Hall hours: Wednesday, March 16, 9:00am–5:00pm; Thursday, March 17, 9:00am–5:00pm; Friday, March 18, 8:30am–4:30pm.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

PROGRAM DETAILS

Program—Tuesday

Programming will take place at the Minneapolis Convention Center, 1301 Second Avenue South, Minneapolis, MN 55403. Yoga and the Friday Night Dance will be held at the Hilton, 1001 Marquette Avenue, Minneapolis, MN 55403. The 2019 NCECA Conference name badge is required to attend programming. The NCECA Gallery Expo, Projects Space, Cup Exhibition and Sale, Past Masters, Awards and Honors Presentation, and K-12 Ceramic Exhibition are open to the public. KEY CD – Clay Discourse CP – Career Paths H + C – Histories and Contexts K – K-12 Programming LM – Learning Modalities M+T – Materials and Technology SSI –Social and Sustainable Impacts COAT CHECK: Location to be determined. Tuesday: 6:00pm-8:30pm Wednesday: 9:00am-10:30pm Thursday: 8:00am-6:00pm Friday: 8:00am-7:00pm Saturday: 8:30am-2:00pm SPECIAL RESERVED SEATING: Special reserved seating is allocated in each session within the Minneapolis Convention Center for people with special needs. See ushers if you require assistance. MEDICAL ASSISTANCE: EMT in the lobby of the Auditorium during the Opening and Closing ceremonies and in Hall A Thursday and Friday.

Tuesday, March 26 8:00am–4:30pm Hall A (lower level) NCECA GALLERY EXPO SET UP (PERSONNEL ONLY) 12:00pm-4:30pm Hall A (lower level) NCECA PROJECTS SPACE SET UP (NCECA PERSONNEL ONLY) 12:00pm–6:00pm Lobby A (lower level) REGISTRATION NCECA MERCHANDISE SALES T-shirts, demonstrating artists’ DVDs, Spirit of Ceramics DVDs, publications including catalogues. 32

Lobby A (lower level) RESOURCE HALL MOVE IN (EXHIBIT PERSONNEL ONLY) Mezzanine Lobby (mezzanine level, behind escalators) BUS TICKET SALES Bus ticket sales for shuttles, tours, and Thursday and Friday evening gallery exhibition receptions. 6:30pm–8:00pm Hall A (lower level) NCECA GALLERY EXPO AND PROJECTS SPACE RECEPTION (cash bars) NCECA is pleased to continue the extremely popular Gallery Expo in Minneapolis where you will find exceptional finished ware from top galleries across the country. Artstream Nomadic Gallery Eutectic Gallery Gandee Gallery Kansas City Urban Potters NCECA Emerging Artists Northern Clay Center Objective Clay Red Lodge Clay Center Spinning Earth Pottery The Clay Studio PROJECTS SPACE

A platform for ceramic artists to create and present works that incorporate clay as medium in time-based, performative, relational, or site-responsive work. Artists will create their works onsite interacting with visitors. CREATING MEMORIES IN UTOPIA By Danielle Weigandt If everyone was to describe Utopia, each description would be different. Everyone is invited to create a tiny cube to document their own idea of Utopia. Whether they create just one or stay and create many is up to them. The participant is then asked to leave those cubes behind in the installation. MOTHER OF ALL CONFESSIONS By Kate Fisher and Erin Furimsky What’s YOUR story? The Mother of All Confessions is an open confessional booth for discussions surrounding maternity and parenting. Come share your parenting story and contribute to an ongoing and developing conversation about maternity and art. Visit bothartistandmother.com for more information.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

U(S)TOPIA By Ken Beidler This project entitled U(S)TOPIA allows participants to make and decorate a clay letter symbolizing their contribution as an artist to a shared CLAYTOPIA. The letters will be arranged in a spiral on the floor creating a larger piece of installation art. Gallery Expo and Projects Space are free and open to the public.

Wednesday, March 27 8:00am-6:00pm Lobby A (lower level)

REGISTRATION NCECA MERCHANDISE SALES

T-shirts, demonstrating artists’ DVDs, Spirit of Ceramics DVDs, publications including catalogs. Mezzanine Lobby (mezzanine level, behind escalators)

BUS TICKET SALES

Ticket sales for today’s continuous shuttles (limited availability), and Thursday and Friday evening gallery exhibition receptions. 9:00am-4:00pm Hall A (lower level)

PROJECTS SPACE U(S)TOPIA (continuation)

By Ken Beidler

9:00am-5:00pm Hall A RESOURCE HALL

Visit with manufacturers and suppliers of ceramic products, companies providing publications in the ceramic arts, and schools offering ceramic programs. M100 B-E (mezzanine level)

27th ANNUAL CUP EXHIBITION AND SALE SUBMISSION

Coordinated by Richard Wehrs Drop off cup donations. All donated cups will be considered for the NCECA Cups of Merit Commission Award. In its 18th year, the award is designed to add further recognition of the extraordinary quality of these donations. The selections will be made by a jury’s review of all donated cups and winners announced on Saturday. The NCECA Cups of Merit Award was established to recognize outstanding craftsmanship and artistic merit among the generous donors to NCECA’s Annual Cup Sale. Each year NCECA appoints a small panel of three

Cup Exhibition and Sale Submission is free and open to the public. M100 J (mezzanine level)

THE EVERSON MUSEUM OF ART READING ROOM

Enjoy a calm moment surrounded by a brilliantly curated selection of writing about the field of ceramics. Preview dozens of the most exciting books, catalogs, and magazines, all brought to you by the Everson Museum of Art in Syracuse, New York. DISTRIBUTION OF PROMOTIONAL MATERIALS

This area will be maintained by a volunteer. Attendees will be limited to distributing no more than 500 pieces (per conference). 9:00am-6:00pm Hall A (lower level) NCECA GALLERY EXPO

Displays of extraordinary works in clay—functional, decorative, and sculptural—all of which are available for purchase by visitors. The galleries involved create a unique opportunity to experience and acquire works that might not otherwise be available in the conference region. PROJECTS SPACE CREATING MEMORIES IN UTOPIA

(continuation) By Danielle Weigandt

MOTHER OF ALL CONFESSIONS

(continuation) By Kate Fisher and Erin Furimsky GREEN TASK FORCE

The NCECA Green Task Force is a group for members of the ceramic art community who wish to share plans and practices for improving the environmental impact of our making, teaching, and learning practices. Stop by this table to express your experiences and interests.

NCECA Gallery Expo, Projects Space, Green Task Force are free and open to the public. 10:00am–6:00pm (Reception 4:30pm–5:30pm) M101 A-C (mezzanine level) 22nd ANNUAL NATIONAL K-12 CERAMIC EXHIBITION

Showcasing the best ceramic work created in our K-12 schools. National K-12 Ceramic Exhibition is free and open to the public.

Auditorium-Room 3

CLAY CONVERSATION: TALK LESS, LISTEN MORE

Group Leader: Amanda Barr Equality, diversity, and intersectionality are the future, that much is undeniable. The health and the stability of our communities require it. We will discuss how communities, institutions, and individuals can advocate and affect change.

Program—Wednesday

distinguished ceramic artists to make merit awards from the cups submitted. Jurors will make purchase awards totaling up to $1000 to three or more makers. Each award will be an amount sufficient for NCECA to purchase two or more cups based on the pricing presented to the sale administrator. NCECA will retain one of the cups in its collection for as long as is practical. Cups may be periodically removed from the collection to recognize individuals for outstanding service or generosity to NCECA.

2:30pm–3:30pm Auditorium-Room 1

CLAY CONVERSATION: GRADING CERAMICS STUDENTS

12:30pm-1:00pm L100 B-D NCECA FOR NEW ATTENDEES

By Cindy Bracker and Brandon Schnur This session will give a brief conference orientation to first time attendees, or to those who would like to obtain a general overview of events and programming that are available. 1:00pm–2:00pm Auditorium Main

CLAY CONVERSATION: WILD CLAY RESEARCH PROJECT

Group Leaders: Matt Levy, Josh DeWeese, Dean Adams, Tony Hartshorn, Sarah Mae Whitmeyer The International Wild Clay Research Project was created to study the use of local, indigenous ceramic materials, and to advance sustainable, efficient practices in the ceramic arts. We will discuss real and conceptual aspects of materials and the interdisciplinary nature of clay. Auditorium-Room 1

CLAY CONVERSATION: MEDIEVAL COOKING WITH CLAY

Group Leader: Doug Van Beek Learn about medieval European cooking done with clay pots and other culninary devices, including construction methods, recipes, and experiences with mixed audiences. Ideal for teachers hoping to excite their students with practical applications for ceramics and for fun collaborations with history classes. Auditorium-Room 2

CLAY CONVERSATION: APPRENTICESHIPS: LET’S DO THIS!

Group Leader: Elenor Wilson A discussion of contemporary apprenticeships: who, what, where, why, and how; plus grant opportunities, hosted by Studio Potter journal editor, Elenor Wilson.

Group Leaders: Larry Brow, Simon Levin, Doug Jeppesen, Reginald Pointer, and Summer Hills-Bonczyk Grading Ceramics students is fundamentally different than grading Science and Humanities classes. Historically, some very odd rubrics have been used. We will discuss how to do better for the benefit of all instructors in K-12, college, university, and apprenticeship situations. Auditorium-Room 2

CLAY CONVERSATION: LARGE LEGACY, SMALL FOOTPRINT

Group Leader: Libby Buckley The Leach Pottery is complex and unique, our provision extends beyond the Pottery’s original intentions. We offer a lot, but suggest this is not enough alone: our drive to engage must underpin our activities. New forms of engagement give life and meaning, helping us respond to the new challenges. Auditorium-Room 3

CLAY CONVERSATION: GRANT WRITING FOR BEGINNER

Group Leader: Carol Petrucci Come learn the wheres, hows, and whats of finding funding for your projects. We’ll talk about crafting a template that you can use to submit to multiple sources and how partnerships and looking at your work through a new lens can help you get the money to make great things happen. 2:30pm–4:30pm L100 A (lower level)

STUDENT CRITIQUE SIGN-UP AND SCHEDULING (FOR REMAINING TIME SLOTS)

Student Critique room gives higher education students an opportunity to discuss images of their work one-to-one with professional artists/educators from around the world.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

PROGRAM DETAILS

Program—Wed.–Thurs.

7:00pm Auditorium (Ballroom A overflow) Arrive early. Seating in the Auditorium will be provided to the first 3,433 attendees. All other attendees will be directed to Ballroom A. OPENING CEREMONIES/WELCOME 54th ANNUAL CONFERENCE PRESENTATION NCECA’S 55th ANNUAL CONFERENCE LOCATION ANNOUNCEMENT

7:30pm–8:30pm KEYNOTE

By Winona LaDuke

9:00am–10:30am Auditorium Main ROUNDTABLE DISCUSSION Moderator: Hideo Mabuchi Panelists: Winona LaDuke, Cannupa Hanska Luger, Shanai Matteson, and Steve Hilton Listen in and contribute to a lively discussion revolving around themes, ideas, and challenges inspired by our keynote presenter, Winona LaDuke. 9:00am–12:00pm Ballroom A DEMONSTRATING ARTISTS Jeff Oestreich and Aysha Peltz

Jeff Oestreich This presentation explores the various By Nooky Jones methods of manipulating wheel thrown Neo-soul band Nooky Jones blends jazz, forms by faceting, darting, scalloping, R&B, and funk to create a warm, deeply cutting, and reassembling. The first morning grooving sound. Made up of forwardwill be the throwing of these basic forms. thinking players, this group from Minneapolis The second day will be assembling and bridges the gap between these different styles trimming of these shapes. Functional forms of music with intimate vocals, intricate horn such as teabowls, pitchers, and serving arrangements, and tight rhythms. pieces will be the focus. Attention to detail is the central theme. 8:45pm–10:15pm

RANDALL SESSION

Thursday, March 28 7:00am–8:00am Hilton Hotel, Symphony 1II (second floor) YOGA FOR CERAMIC ARTISTS Coordinated by Julie Williams Start your day off with an accessible, energizing practice that invigorates the body and mind. Enjoy a class that focuses on balance, strength, and flexibility with an emphasis on hands, wrists, neck, and shoulders. We will end each session with a rejuvenating and relaxing visualization. 8:00am–5:00pm Lobby A (lower level) REGISTRATION NCECA MERCHANDISE SALES 8:15am–8:45am Auditorium Main FIRST NCECA MEMBERS’ BUSINESS MEETING NCECA’s Board of Directors encourages all members to participate in the governance of your organization.

Aysha Peltz Working with clay is like a conversation, and a newly thrown pot is like a statement that, for me, cannot go unanswered. The answer might be to push, cut, rip, texture, or facet. In this demonstration, I will engage in a conversation beginning with a newly thrown, porcelain pot, addressing it while it remains wet on the wheel, seeking to capture expressive moments. 9:00–4:00pm Hall A (lower level) PROJECTS SPACE MOTHER OF ALL CONFESSIONS (continues) By Kate Fisher and Erin Furimsky 9:00am–4:30pm L100 A (lower level) STUDENT CRITIQUES Student Critique room gives higher education students an opportunity to discuss images of their work one-to-one with professional artists/educators from around the world. 9:00am–5:00pm Hall A (lower level) RESOURCE HALL Visit with manufacturers and suppliers of ceramic products, companies providing ceramic publications, schools, and non-profit organizations.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

M100 B-E (mezzanine level) 27th ANNUAL CUP EXHIBITION AND SALE SUBMISSION Coordinated by Richard Wehrs Drop off donations. Preview hundreds of cups generously donated for this event. The NCECA Cup Exhibition is a powerful demonstration of the generosity of our clay community, as members from all over, and of all skill levels, bring their contributions for display and sale beginning Friday morning – all for the benefit of others through NCECA’s scholarship programs. Come by and experience this excellent event. Doors close promptly at 5:00pm for jurying of Cups of Merit. Cups go on sale Friday beginning at 8:00am. Cup Exhibition and Sale Submission is free and open to the public. M100 G/H (mezzanine level) MAKE-IN STUDIO Coordinated by Mark Shapiro Drop in, hang out, and get your hands dirty! Join Claytopia’s pop-up improvisational, hands-on clay studio throughout the day on Thursday and Friday. Make-In is an opportunity for us all to come together to create objects, experiences, and conversations. Look for the short thematic sessions featuring special guests and surprise visitors as well. Brought to you by studio potter Mark Shapiro in collaboration with Northern Clay Center. Make-In is open Thursday, 9am–5pm and Friday 9am–4:30pm for open making except for one short session each day : Thursday: 9:00am–12:45pm Open for making. 1:00pm–1:45pm Pour It On… Pitching aces throw their stuff. 2:00pm-5:00pm Open for making. M100 J (mezzanine level) THE EVERSON MUSEUM OF ART READING ROOM Enjoy a calm moment surrounded by a brilliantly curated selection of writing about the field of ceramics. Preview dozens of the most exciting books, catalogs, and magazines, all brought to you by the Everson Museum of Art in Syracuse, New York. DISTRIBUTION OF PROMOTIONAL MATERIALS This area will be maintained by a volunteer. Attendees will be limited to distributing no more than 500 pieces (per conference).

PROJECTS SPACE: CREATING MEMORIES IN UTOPIA (continuation) By Danielle Weigandt ...REPROCESSING… By Penelope Van Grinsven …reprocessing… is a pop-up demolition site for all unwanted ceramic work – a place for participants to smash their failures and amass a pile of shards from a multitude of individuals. Processed shards will be repackaged in postcards as a memento for participants to send out or save. GREEN TASK FORCE 10:00am–3:30pm Mezzanine Lobby (mezzanine level, behind escalators) BUS TICKET SALES Ticket sales for tonight’s and Friday evening exhibition receptions. 10:00am–5:00pm M101 A-C (mezzanine level) 22nd ANNUAL NATIONAL K-12 CERAMIC EXHIBITION 10:30am–11:30am Auditorium-Room 2 PANEL: AGING? DON’T SWEAT IT (CP) Moderator: Erin Younge Panelists: George Metropoulos McCauley, Ron Meyers, and Patti Warashina The panelists will share how they have continued to work into their 60s, 70s, and 80s. There are practices and programs these artists will suggest to help us sustain a more meaningful and productive life. The goal is a discussion about how to prepare for a long career in the studio. Auditorium-Room 3 PANEL: “URBAN PARALLELS” IN SCOTLAND (H+C) Panelists: James Rigler, Susan O’Byrne, and Fiona Logue Despite the closure of all of Scotland’s university levels programs, the sector is thriving in the country’s largest city, Glasgow. This presentation examines how this city’s industrial past, its municipal policies, and its artists are shaping a vibrant future for the sector.

Ballroom B MAKERS’ SPACE: MAKING A TEAPOT By Roelof Uys Potter Uys will be demonstrating the various stages of making a teapot, with emphasis placed on the balance between form and function within the aesthetic of the Leach tradition. L100 B-D (lower level) LECTURE: CERAMICS AND SOCIAL MEDIA (SI) By Emily May (Kuan) What role does social media play in the ceramics studio? This lecture hopes to spark a conversation about the role of social media in the studio. May has looked into how makers and artists are currently engaging in social media. 10:30am–12:00am Auditorium-Room 1 DISCUSSION: THE ART OF RADICAL MENTORSHIP (SSI) Moderator: Lauren Sandler Panelists: Courtney Leonard, Sana Musasama, Paul Briggs, Jigna Desai The art of radical mentorship amplifies stories in clay to highlight voices marginalized in institutional spaces. This collaborative effort disrupts the distribution of dominant mythologies as truth and facilitates movement of ideas and actions to achieve equity in transformative power and practice. L100 F-G (lower level) CLAY FAB LAB: SURPRISE YOURSELF: TOOLPATHS FOR CROSS-DISCIPLINARY MAKING By Timea Tihanyi Introducing the example of her clay makerspace, Slip Rabbit, ceramic artist Timea Tihanyi discusses the challenges and rewards of creating a space for dialogue between clay’s material quality and algorithm-driven technologies, and how this research has been furthering cross-disciplinary collaboration and inclusivity. 10:45am–12:00pm Auditorium Main PANEL: HOLDING SPACE, EMBRACING PLACE (CD) Moderator: Willi Singleton Panelists: Susan Jefferies, Preston Duwyenie, and Sayge Carroll Pots hold space, and they can also embody Place. This panel will explore the ways Place impacts clay work, on concrete and metaphorical levels. Potters shape their places, while also being shaped by that place, and these panelists will present ways in which this symbiosis is made evident. During the panel

the U.S. premiere of the restored and enhanced Onda 1954 from the Mingei Film Archive will be screened. This film touches on themes central to how Place interfaces with specific practice, and how meaning is constructed through experience and ongoing practice. This film depicts the harvesting of raw materials by pick-axe and basket, with Shigeki Sakamoto as a young teenager working with other Onda potters. The “chain of operations” is brought to life through historical footage that Marty Gross and his team have laboriously and meticulously restored from film and transferred to digital video.

Program—Thursday

9:00am–6:00pm Hall A (lower level) NCECA GALLERY EXPO

11:45am–12:15pm Auditorium-Room 3 LECTURE: WEDGWOOD’S FAIRYLAND (H+C) By Djinnaya Stroud Daisy Makeig-Jones’ Fairyland Lustre line, created at Wedgwood in the early 1900s, chronicles ornamentation’s last battle against modernism. Exploring how the designs developed, we’ll examine if an argument for flourish and ornament is still worth making in contemporary craft. Auditorium-Room 2 LECTURE: CLAY WORK IN LONG TERM CARE (CP) By Cynthia O’Brien O’Brien will share the unique privilege of working with the men and women who now live at the Perley Rideau Veterans’ Health Centre in Ottawa, Canada. This Long Term Care facility has incorporated practicing artists and working studios into the care of these residents. L100 B-D (lower level) LECTURE: BIG IMPACT: SMALL BUDGET (LM) By Mary Carlisle This presentation will share a working model for building and maintaining a K-12 ceramics program that has a big impact while working within a limited budget. The projects, tools, and processes shown can be modified to fit a range of grade levels while allowing for cross-curricular collaboration. 12:15pm–1:10pm Auditorium Main The Mingei Film Archive is an ongoing project by Canadian filmmaker Marty Gross. The Archive consists of close to 50 hours of films on traditional pottery making covering the period 1925-1976. Films being restored and enhanced are from Korea, Japan, the U.S., and England. This presentation at NCECA is the second public presentation of the films in the United States.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

PROGRAM DETAILS

Program—Thursday

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Warren MacKenzie Films the Leach Pottery, 1950 - with narration by Warren MacKenzie

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The Onggi Potters of Korea, 1925 - reconstructed from rare film footage found in Germany

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The Mingei Potters of Okinawa, 1940 - adapted from a film made by Soetsu Yanagi

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Interview with Shoji Hamada, 1970 - restored from the outtakes from The Art of the Potter, 1970

1:00pm–2:00pm Auditorium-Room 1 DISCUSSION: GOING PLACES/STAYING CENTERED (SSI) Moderator: Jennifer Zwilling Panelists: Josie Bockelman, Hope Rovelto, and Hiroe Hanazono As we prepare to build a new home for The Clay Studio, our own Claytopia in Philadelphia, we have undertaken two major projects to engage our new neighbors as partners and work together with them to shape our future. Join us as we share our positive and complex experiences. L100 F-G (lower level) CLAY FAB LAB: VIRTUAL CLAY AND THE OCULUS RIFT By: Shalya Marsh and Erin McCarty Virtual reality equipment such as the Oculus Rift has the potential to envision space, test materials, and prototype in an immersive world not limited by physical constraints. Through interactive demonstrations, examples, and documentation this presentation will address how virtual space can be integrated into one’s classroom or studio practice. 1:00pm–4:00pm Ballroom A DEMONSTRATING ARTISTS Torbjørn Kvasbø and Kukuli Velarde Torbjørn Kvasbø The taut bowstring between an explosion of power and vulnerability that is held at breaking point, in a continuous dialogue between mind, body, and clay. All are combined to create a readable whole—the encounters, proportions, and precision striking a perfect balance: like a killer punch to the solar plexus. The process remains a continuous dialogue between knowledge, practice, and cruel critical reflection.

Kukuli Velarde I will make a few slabs, cut them into strips, and build a figure with them. I will use a mold made from a head I did of my daughter for a new series titled A MI VIDA. I will show how I work, constructing, as an example, a piece from that series. M100 I (mezzanine level) PROJECTS SPACE: WORLD RECORD TEAPOT MAKING WORKSHOP! By Diane Nicholson and Mavin Kitshaw Join us for a World record attempt! Muddy Fingers Pottery wants to set the record for the largest teapot making class in the world at NCECA this year! 200 participants making a teapot each within a 3 hour segment. Come spectate or even make your own at your workshop by following our live feed. 1:15pm–1:45pm Auditorium-Room 3 LECTURE: DRAGONS, CATS, AND CHICKENS (H+C) By Caroline Cheng There are 26 different minorities living in Yunnan, China. A few of these are making pottery and firing in a unique way. This lecture will introduce the history and the contemporary production of pottery in three different areas and communities. 1:15pm–2:00pm Ballroom B MAKERS’ SPACE: CREATING A LAYERED SURFACE By Naomi Clement In this demonstration I will show how to achieve richer surfaces by combining texture with layers of coloured underglazes and slips. I will demonstrate how to use simple paper resists to create pattern and depth, and how to further accent those surfaces with inlaid and trailed underglaze and glaze. 1:15pm–2:15pm Auditorium Main CO-LECTURE: FORREST/ROLOFF COLLABORATIONS (CD) By John Roloff and Neil Forrest Forrest and Roloff will lecture on the conceptualization, research, and strategy for their collaborations of narrative fiction from the past nine years. We will speak about a current project, “Two sites with a similar problem,” planned for NCECA 2019, and projects from NCECA 2009, 2014, 2017.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Auditorium-Room 2 LECTURE: BUILDING A MARKETING FUNNEL (CP) By Paul Blais “How do I find MY customers?” So many artists are asking this question. A marketing funnel is the answer. A funnel helps to guide people from not knowing you, to buying from you, and becoming a repeat customer. Using social media you can build a marketing funnel to grow your audience and sales. LECTURE: COLORFORMS (M+T, SI) L100 B-D (lower level) By Rose Katz I will explore the chemical role of all the major colorants: Titanium, Chrome, Manganese, Iron, Cobalt, Nickel, and Copper. How do we consider them when we examine glaze chemistry, and what can we learn from them when we do? 2:00pm–2:30pm Auditorium-Room 3 LECTURE: THE LAY OF THE LAND (H+C) By Janet Koplos This backgrounder for an exhibition at Concordia University, St. Paul, tells how a number of soon-to-be important potters— including Mark Pharis, Linda Sikora, Matt Metz, Andy Brayman, Sanam Emami, and Karen Newgard—successively lived and made work on one isolated farm in southeastern Minnesota. L100 F-G (lower level) CLAY FAB LAB: COMPARATIVE METHODOLOGIES FOR 3D PRINTING IN CLAY By Bri Murphy This presentation will cover various methods, applications, and implications of 3D printing in ceramics, including extrusion as well as powder- and resin-based strategies. An emphasis will be placed on the open-source and subsequent democratization of these technologies, complete with physical examples and resources for new and continued explorations. 2:30pm–3:30pm Auditorium Main DISCUSSION: TRANS-PACIFIC DIALOGUE (H+C) Moderator: Mindy Solomon Panelists: Glenn Barkley, Andrew Casto, Virginia Leonard, David Hicks, and King Houndekpinkou As an international movement, “Ceramicsproper” encompasses a multiplicity of foci.

Auditorium-Room 2 PANEL: ART FAIR WARRIORS (CP) Moderator: Anthony Borchardt Panelists: Gregg Rasmusson, and Nancy Gardner The dos, don’ts, and how-tos of the art fair world. This panel will discuss all aspects of the art fair scene. Gregg, Anthony, and Nancy have spent over 30 years on the circuit. They will explain their beginnings, processes, and troubles over the years. Q & A time will be available Ballroom B MAKERS’ SPACE: TRADITIONAL TECHNIQUES FOR UNTRADITIONAL FIGURES By Natalia Arbelaez Using traditional techniques like pinch and coil influenced by pre-Columbian technique and style to create zoomorphic contemporary figures. 2:45pm–3:45pm Auditorium-Room 3 LECTURE: SPANISH CONTEMPORARY CERAMICS (H+C) By Oriol Calvo Vergés Spanish contemporary ceramics have improved a lot during the last 30 years, but the notion that most makers are able to make a living off sales of their work, while reaching international audiences and markets remains a utopian one. This lecture will present a fast moving overview of the best artists of the new generations in Spain. 3:00pm–5:00pm L100 H (lower level) REACH OUT TO WORLD CERAMIC CULTURES Coordinated by Guangzhen Po Zhou Guangzhen Zhou hosts a sharing session for NCECA’s international members. This session provides space and time for any international conference participant to initiate an informative conversation about their work. Chairs will be arranged at round tables for up to 80 participants who will be able to share a bit about themselves and their work in ceramic art and education. Presentations will be made orally without mic or slides. If translation is necessary, presenters are encouraged to prepare for those arrangements. If capacity exceeds 80, each participant will receive up to one-minute. Longer presentations may be possible within a smaller group.

3:15pm–4:15pm L100 B-D (lower level) DISCUSSION: EXPLORING AN INTRODUCTION TO 3D PRINTING (SI) Moderator: Brooke Farmer Panelists: Tai Kyong Lee, and Ellen Griffin A peek into students’ introduction to 3D printed ceramics. Join three students as they recount their adventures in researching 3D printing and their recurring problems and creative discoveries! 3:30pm–4:30pm Auditorium-Room 1 DISCUSSION: ART AND THE ANTHROPOCENE (SSI) Moderator: Shanna Fliegel Panelists: Tara Daly, Crystal Morey, Tim Cowdery, and Lisa Truax This discussion brings into focus and challenges what in fact is “utopia” and what defines it. Is it untouched wilderness, or the revitalization of a forgotten community? What is the artist, educator, scientist, and community organizer’s role in response to the urgency of an unstable planet? L100 F-G (lower level) CLAY FAB LAB: TOYING WITH THE TOOL By Shane Harris Technology provides an opportunity to play and experiment with sculpture in new ways. 3D printers allow the creation of objects with unlimited combinations of shapes. Use of the Form Labs resin printer will be explored through the presentation of a personal journey of using printing to develop hybrid sculptural objects. 3:45pm–4:45pm Auditorium Main Discussion: FOCUS: Inspiration Matters (CO) Moderator: Lisa Merida-Paytes Panelists: Marsha Karagheusian, Angel DiCosola, and Rob Kolhouse Inspiration permits progression beyond the norm—beyond mere material and technique. What inspires, propels creativity into new and exciting directions. This panel will discuss the intuitive experimental play balanced with grounded methodologies imperative for continued inspiration. 3:45pm–4:45pm Auditorium-Room 2 Panel: Claytopia’s Business Department (CP) Moderator: Kate Strathmann Panelist: Dustin Yager, Sean Forest Roberts, and Elizabeth Pechacek

Your own private Claytopia doesn’t just happen! Business consultant Kate Strathmann joins three emerging artists as case studies to discuss defining your vision, overcoming obstacles, seeking resources, and measuring growth as you consider the business aspects of your practice.

Program—Thursday

This discussion will investigate contemporary practice on three continents, and how this geographic diversity strengthens, enhances, and supports contemporaneous discourse.

4:00pm–5:00pm Auditorium-Room 3 CO-LECTURE: THE PAST PREDICTS THE FUTURE (H+C) By DJ Hellerman and Margie Hughto Beginning with Ceramic Nationals in 1932, the Museum has been at the forefront of exhibitions featuring underrecognized artists. Largely the result of work by pioneering women in the field, these exhibitions changed the course of American art and provide inspiration for future exhibitions. Ballroom B MAKERS’ SPACE: GET YOUR FIX By Emily Nickel and Thaddeus Erdahl Cracks, shipping mishaps, and gallery accidents happen. We are here to help you fix it. This demonstration will cover a variety of repair and enhancement techniques for ceramic sculptures at the green, bisque, and fired stages. We will also discuss longevity and marketability concerns around repaired work. 4:30pm–5:00pm L100 B-D (lower level) DISCUSSION: MEET YOUR NCECA STUDENT DIRECTORS AT LARGE AND STUDENT DIRECTOR AT LARGE CANDIDATES (SI) By Brandon Schnur and Ashlyn Pope Come meet your Student Directors at Large and the candidates who could be the next to serve your interests. This meet and greet will be an opportunity for suggestions, concerns, and questions regarding the inner workings of the board and how it affects and works for the students. 4:45pm–5:15pm Auditorium-Room 1 LECTURE: CULTURE WITHIN LIMINAL SPACE (CD) By Varuni Kanagasundaram How can ceramic practice critically challenge cultural conventions? Ceramic work sometimes questions familiar beliefs, and challenges our complicity in relation to cultural consumption. By locating within a multiplicity of social values, I explore practice through ceramic installations and performance.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

PROGRAM DETAILS

Program—Thurs.–Fri.

5:00pm–6:30pm Auditorium Main PAST MASTERS Honor and celebrate the lives of NCECA members and significant figures in our field who have passed away since our 2018 conference (not necessarily in this order): • Doug Baldwin by David S. East • Christyl Boger by Malcolm Mobutu Smith • Dora DeLarios by Christy Johnson • Joyce Jablonski by Garth Johnson • Warren MacKenzie by Randy Johnston • Amanda Swimmer by Marge Levy • Elmer Taylor by Gary Hatcher • Paula Winokur by Jennifer Zwilling Past Masters is free and open to the public.

Friday, March 29 7:00am–8:00am Hilton Hotel, Symphony 1 & II (second floor) YOGA FOR CERAMIC ARTISTS Coordinated by Julie Williams A continuation of Thursday’s session.

PROJECTS SPACE: CREATING MEMORIES IN UTOPIA (continuation) By Danielle Weigandt …REPROCESSING… (continuation) By Penelope Van Grinsven CONTEMPLATION By Eric Mullis and Kelly Cox Contemplation considers the social construct that supports a pot. Pottery in America exists in a weird relationship with materialism. We long for a more meaningful connection to objects...for transcendence. For pottery to fulfill that need it relies on the expectations generated by hype. GREEN TASK FORCE NCECA Gallery Expo, Projects Space, and Green Task Force are free and open to the public. (CLOSED Saturday)

9:00am–10:30am Auditorium Main CHIPSTONE DISCUSSION: YES.SHE.CAN With Rebecca Sive, Adrienne Spinozzi, Angelica Pozo, and Ann Lawton In light of the #TimesUp and #MeToo 8:00am until cups are sold out movements, NCECA will host this M100 B-E (mezzanine level) 27th ANNUAL CUP EXHIBITION AND SALE important conversation about overcoming professional and personal barriers to success Coordinated by Richard Wehrs and advancing women’s recognition and Now is your chance to purchase cups leadership in the ceramic’s world, whether and build the NCECA Fund for Artistic as professors, studio potters, independent Development, designed to provide community-based artists, teachers, museum opportunities for artistic growth through curators, or otherwise. scholarships, residencies, and programs including the Regina Brown Undergraduate 9:00am–12:00pm Student Fellowship. Purchases are limited Ballroom A to three cups. Cups will be available for DEMONSTRATING ARTIST purchase until they are sold out. Kukuli Velarde and Torbjørn Kvasbø Cup Exhibition and Sale is free and open to the public. Closed Saturday. 8:00am–5:00pm Lobby A (lower level) REGISTRATION NCECA MERCHANDISE SALES Make your purchases today. Sales will take place near the Auditorium on Saturday and will close at 12pm! 8:30am–4:30pm Hall A (lower level) (CLOSED Saturday) NCECA GALLERY EXPO

A continuation of yesterday’s demonstrations.

9:00am–4:30pm L100 A (lower lobby) STUDENT CRITIQUES Student Critique room gives higher education students an opportunity to discuss images of their work one-to-one with professional artists/educators from around the world. M100 G/H (mezzanine level) MAKE-IN STUDIO Coordinated by Mark Shapiro Friday 9:00a-10:15am Open for making. 10:30am–11:45am POTS ARE PERSONAL, POTS ARE POLITICAL… Special guest potters work

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

on one of their signature pieces and discuss the roles of personal voice and community. (How do people connect with and through pots? What gives a pot an authorial voice? How dopots influence personal experiences and interactions with others?) 12:00pm–4:30pm Open for making. 9:00am–5:00pm M100 J (mezzanine level) THE EVERSON MUSEUM OF ART READING ROOM Enjoy a calm moment surrounded by a brilliantly curated selection of writing about the field of ceramics. Preview dozens of the most exciting books, catalogs, and magazines, all brought to you by the Everson Museum of Art in Syracuse, New York. DISTRIBUTION OF PROMOTIONAL MATERIALS This area will be maintained by a volunteer. Attendees will be limited to distributing no more than 500 pieces (per conference). 10:00am–3:30pm Mezzanine Lobby (mezzanine level, behind escalators) BUS TICKET SALES Ticket sales for Friday evening’s exhibition receptions. 10:00am–4:00pm

M100 A-C (mezzanine level)

22nd ANNUAL NATIONAL K-12 CERAMIC EXHIBITION Showcasing extraordinary K-12 ceramic work made across the country National K-12 Ceramic Exhibition is free and open to the public 10:30am–11:00am Auditorium-Room 2 LECTURE: HIVE MIND CLASSROOM SOLUTIONS (LM) By Mike Flower Every teacher wants tips, tricks, and solutions. Facebook groups are a great resource. As ceramics teachers in K-12 education we are problem solving with the “hive-mind.” We’ll share ideas and pictures from all over the world that can give us multicultural perspectives, veteran insight, and novel solutions.

PROGRAM DETAILS

10:30am–12:00pm L100 B-D (lower level) SHORT FORM: BLINC 20:20 This session will feature short format presentations consisting of 20 autoadvancing slides shown for 20 seconds each, for a total presentation time of under seven minutes each. This is a great way to enjoy lots of little bits of knowledge in a fast feast for the eyes and ears. Enjoy the following, not necessarily in this order: TWENTY 21ST CENTURY QUESTIONS ON CLAY AND THE ENVIRONMENT By Kathryn Schroeder Pottery often has a relationship to its environment, and like most people these days, potters are also concerned with climate change. Twenty questions will be posed exploring the shared values of nature, sustainability, utility, and humility as seen in the studio work of ceramic artists, and the philosophical investigations of environmental thinkers. A VILLAGE: NETWORKING AND BUILDING A CLAY COMMUNITY By Tiffany Leach Something I have learned from parenting is the old saying, “It takes a village,” is quite true, but not just for parenting. Although I have been a ceramic artist much longer than I have been a parent, parenting has taught me that my community, my village, enhances my ceramic practice. WOOD-FIRED KILN WITH USED FRYER OIL ASSISTED BURNER By Jon Hook Present research directed at kiln design utilizing wood as fuel assisted by a sustainable used fryer oil drip system. Exploring alternative energy sources is

inevitable for ceramic artists. Fryer oil is free and can assist professional artists and educational institutions pursuing high temperature reduction work, reducing costs, and burning clean. THE EVOLUTION OF THE DIGITAL TEMPERATURE CONTROLLER By Arnold Howard In this presentation, you will learn how a digital temperature controller works and about the early problems with digital kilns in America. Almost all electric kilns made in America are now digital. You will learn about how touch screen controllers were introduced and about their advantages and disadvantages. THE TREE OF SHIFTING FORMS: TRANSCULTURAL MOVEMENTS AND CERAMIC TEXTILES By Nadia Myre Algonquin artist Nadia Myre presents recent works made of ceramic textiles. Woven from handmade ceramic beads which reference clay tobacco pipes commonly found in Europe, (remnants of early colonial trade from the Americas) these works explore technical, historical, and conceptual implications of melding traditional and innovative ceramics and fibers techniques. FROM MONTANA TO BRAZIL – THE BIENAL DE CURITIBA By David Kletter In February 2018, students from MSUBozeman traveled to Curitiba, Brazil and assisted with the Bienal de Curitiba 2017. We built and fired a high-fire wood kiln, hosted a workshop, and interacted with local artists. Come see how to get involved in next year’s Biennial. THOUGHT/PROCESS By Grayson Glazer My story and presentation follow my personal journey of working with fellow artists and discovering a new, dynamic, and meta way of thinking about my own art. Relearning and re-training my thought process, my thoughts, and my process. PARKS & (RE)CREATION: COMMUNITY ARTS IN THE CHICAGO PARK DISTRICT By Rianna Sprague The Chicago Park District’s (CPD) municipal framework supports an exciting, but under-recognized range of arts programming. Chicago’s forward-thinking model offers an example of what is possible when local governments fund spaces for communal art practices. A special focus will be given to the city’s ceramics studios

and incipient residency programs. The presentation will be given by educator and studio manager Rianna Sprague and resident artist Ava Carney.

Program—Friday

10:30am–11:45am L100 F-G (lower level) CLAY FAB LAB: BUILDING A DIGITAL TOOLBOX FOR THE CLASSROOM Moderator: Tyler Lotz Panelists: Matt Mitros, Tom Schmidt, and Anna Calluori Holcombe Bringing digital tools to a ceramics curriculum can feel like a daunting task for many teachers. This panel will discuss ideas on learning and teaching 3D Modeling software and digital fabrication, building and maintaining a fabrication lab, and adapting digital processes to an existing ceramics program/curriculum. From designing utilitarian and sculptural objects in CAD software to 3D printing and CNC milling, adding these facets to your pedagogy is not as difficult as it may seem.

10:45am–11:45am Auditorium Main PANEL: IN SERVICE (SSI) Moderator: Ursula Hargens Panelists: Sarah Millfelt, Jeff Schmuki, and Robert Pillers The panel will feature three initiatives invested in creating meaningful dialogue and social change through clay. Panelists will discuss the impact of their initiatives on people outside of the ceramic field and how ceramics is generating social engagement locally, nationally, and internationally. Auditorium-Room 1 PANEL: THINKING OUTSIDE THE POT (SSI) Moderator: Namita Gupta Wiggers Panelists: Carole Epp, Stephanie Boyd, and Nick Moen How can ceramics effect social and political engagements across geographic, economic, and political divides? We will share several projects, The Crafted Dish, Make and Do, The Democratic Cup, Vessels for Change, and Across the Table/Across the Land as catalysts for future action. Auditorium-Room 3 DISCUSSION: HOW LOW CAN YOU GO? (M+T) Moderator: Paul Andrew Wandless Panelists: Russel Fouts, Judith Motzkin, Marcia Selsor, and Ken Turner This group of professional artists experienced by their personal journeys into lowering their firing temperatures through exploration and discovery will respond to questions using a vast amount of experience and knowledge. Between them they share over 170 years of experience in clay. Ballroom B MAKERS’ SPACE: MICROWAVE SINTERING CERAMICS By Michael Neubauer The progression of forms of energy used to sinter ceramics from wood-fire to microwave kilns is discussed. The science and design of microwave ovens and microwavable saggers are discussed including how to make a sagger using B-mix (or any ceramic mix) and silicon carbide powder is presented.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

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Tel: 905-889-7705 Toll free: 1-800-304-6185 Email: info@coneartkilns.com

PROGRAM DETAILS

11:15am–11:45am Auditorium-Room 2 LECTURE: APPROACHES: DEAFBLIND CERAMICS (LM) By: Elizabeth Cohen Supporting the Claytopia theme, this presentation will share how a pilot program of ceramics instruction at the Perkins School for the Blind allowed deafblind students ages 7-22 to realize and expand their potential in meaningful and direct ways. Presentation includes many photos and Q&A time.. 12:45pm–1:15pm Auditorium-Room 2 LECTURE: BUDGETING AND RETIREMENT BASICS (CP) By: nicole gugliotti This lecture is an introduction to the basics of budgeting and investing for retirement. It is geared towards those who are not naturally savers, those who don’t know where to start, and those who know they need to adult, like now, but aren’t quite ready to make the leap. Believe me, if I can do it anyone can! During this 30 minute lecture, I will boil down the key points that you need to know to begin adulting. 12:45pm–1:15pm Auditorium-Room 3 LECTURE: HOT ALCHEMY (M+T) By: Linda Swanson Hot Alchemy is aimed at expanding ceramic material possibilities through the reformulation of common clays and simple glazes into an intermediary spectrum of materials. Testing processes and results will be reviewed along with potential use and applications in ceramic sculpture and installation.

12:45pm–1:45pm Auditorium Main PANEL: PLACE MATTERS (CD) Moderator: Kelly Connole Panelists: Katayoun Amjadi, Anna Metcalfe, and Juliane Shibata The four artists of Place Matters discuss the creative decisions that have lead them to Minnesota’s Claytopia. Coming from four very different starting points, each has found a place within this creative community— acknowledging their diverse beginnings and the value of a personal voice. Auditorium-Room 1 PANEL: YIKES, I’M A TEACHER!!! (LM) Moderator: Elenor Wilson Panelists: Kathy Skaggs, Jeff Huebner, and Bob Kirk Are you a K-12 classroom teacher? Have you ever thought of becoming a K-12 classroom teacher? Do you love spending time in the studio but feel you need a different or additional career? Our panel will ease the transition by sharing tools and methods for potential and current teachers. 1:00pm–2:00pm L100 B-D (lower level) PANEL: CLAY DISCOURSE (CD) Moderator: Ryan Caldwell Panelists: John Balistreri, John Neely, and Margaret Bohls Making pottery in grad school comes with its own unique set of challenges. We will focus on a critical analysis of the pros and cons of making pottery in academia. As seen from the perspective of a current MFA student and a panel that includes full time potters and university professors. 1:00pm–2:15pm L100 F-G (lower level) CLAY FAB LAB: DIE CUTTING AND CERAMIC SURFACE By Adrienne Eliades and HP Bloomer Join us in the Fab Lab for an innovative look into how die cutter technology can be used at different process points to achieve diverse ceramic surface results. We will demonstrate designing vinyl and paper masks from inception to application and discuss feasibility and compatibility within an artist’s studio practice. 1:00pm–4:00pm Ballroom A DEMONSTRATING ARTIST Aysha Peltz and Jeff Oestreich A continuation of yesterday’s demonstrations.

1:15pm–2:00pm Ballroom B MAKERS’ SPACE: LOW-FIRE SURFACE MAGIC By Amanda Dobbratz Dobbratz will share her low-fire surface decorating process of repeating colorful pattern to the surface and how to generate some “kiln magic” in electric firings. Techniques will include slip application, fine line sgraffito drawing, the use of glaze applicators, and washes over glazes.

Program—Friday

10:45am–12:15pm Room L 100H OPEN SPACE CONVERSATIONS Facilitated by Michael Strand and Erik Takesheta Over a 90-minute block of time we will utilize Open Space Technology, which is a conference conversation facilitation framework, to address topics of immediate concern, inspiration and/or opportunity. Programming at NCECA is great, but often times the topics of most urgent need of conversation emerge right before the conference. This is an opportunity to bring these topics to the foreground, network and connect with the community and brainstorm. This is a generative process.

1:30pm–2:00pm Auditorium-Room 2 LECTURE: THE WRITE STUFF (CP) By Megan Guerber Get noticed by publications, galleries, and grant committees by learning how to write about your work in a succinct, organized, and compelling way. This lecture will provide tips and resources for artists looking to gain confidence with the written word. (Following the presentation, from 3:15pm-5:30 pm in room L100 H- lower level, editors from American Crafts Council will provide individualized coaching sessions for those who bring a draft statement, 250 words or less, and sign up in advance at at bit.ly/accnceca. Walk-ins may be considered depending on time and the availability of coaches.) Auditorium-Room 3 LECTURE: SHINING LIGHT ON PHOTO EDITING (M+T) By Taylor Sijan Want to create beautiful images of your work for applications? In this slide lecture with live demonstration, we will learn how to edit digital photographs of 3D work in Adobe Lightroom to create high quality, professional images. Prior knowledge of Lightroom is not required; students are encouraged to attend. 2:00pm–2:30pm Auditorium Main LECTURE: GEOLOGY: BEYOND MATERIALS (CD) By Emily Ross As a structural geologist, photographer, and artist, I want to challenge us to consider geology beyond its clear applications to ceramic materials: paleobiology, clay models of tectonic deformation, photo documentation, maps, and art history all complicate what “geology” can (and should) mean.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

PROGRAM DETAILS

Program—Friday

2:00pm–3:00pm Auditorium Room 1 CO-LECTURE: THE FULLY INCLUSIVE CLAY CLASS (LM) By Laurie Gutierrez and Katherine Beckner Presenters will share their experiences and best practices for a fully inclusive secondary level ceramics class. Participants will learn how differentiated instruction and adjustments of objectives for students with varied abilities will provide for a rich class experience. 2:15pm–2:45pm Auditorium-Room 2 LECTURE: NEW FUNDING FOR CRAFT RESEARCH (CP) By Marilyn Zapf Since 2002, the Center for Craft has supported the work of craft practitioners, annually awarding over $300,000 each year. Come learn about new grant opportunities to fund artist-driven craft research in the United States, including the Materials-Based Research and Practice-Based Research Grants.. L100 B-D (lower level) CO-LECTURE: CRAFTING COMMUNITY: HOW A CERAMICS ORGANIZATION BOLSTERS EVERYONE (SI) By Emily Rangel-Cascio and Kirin Kane Crafting Community: How a Ceramics Organization Bolsters Everyone explains the logistics of how to create a ceramics organization in your school or community, the multitude of benefits organizations provide, and why they are an indispensable tool for developing artists. 2:15pm–3:00pm Auditorium-Room 3 LECTURE: CURE FOR THE PURE (M+T) By Rimas VisGirda This illustrated lecture will address a number of materials that, when added to a clay body, bleed out and affect the surface to give it visual panache. We will also address organic additives that burn out leaving voids that can be enhanced for visual zest. 2:30pm–3:15pm Ballroom B MAKERS’ SPACE: YOU ARE A TOOL MAKING ANIMAL! By Michael Terra This workshop will demonstrate the creation of both temporary and durable tools for use in the ceramics studio out of easily sourced materials. You will walk out of this fast paced demo with a pocketful of new tricks and the power of endless invention.

2:30pm–3:45pm L100 F-G (lower level) CLAY FAB LAB: ALTERNATE PATH GENERATION By Taekyeom Lee and Bowie Croisant The potential for clay extrusion printing is tremendous, but how do we continue to use the technology in innovative ways? Programs such as Grasshopper and direct manipulation of G-code allow for more control, for generative design, and the printing of non-planar toolpaths. 2:45pm–3:15pm Auditorium Main LECTURE: JUGOLOGY/NEUROLOGY OF THROWING (CD) By Jack Troy If we have rid ourselves of not knowing how to throw on a potter’s wheel, what have we done to ourselves? What enables us to combine will and the body’s willingness to learn our practice so successfully? The answers may lie in the brain’s capacity to synchronize its various functions through touch. 3:00pm–3:30pm Auditorium-Room 2 LECTURE: DIRECTING DIALOGUE (CP) By Kate Johnston Johnston will discuss how she sustains a business through the historical Southern sales method of Kiln Openings using social media as a catalyst. She will present marketing as an educational tool for directing public dialogue and how positive promotional methods can correct cultural biases. 3:00pm–4:00pm L100 B-D (lower level) LECTURE: ADHD = ARTISTS DISMISSING HAZARDOUS DISTRACTIONS! By Beth Q. Diamond Tired of battling digital distractions and your self-inflicted interruptions too? Come hear about how an ADHD art student quiets her monkey-mind in order to pull focus and access creativity amidst a sea of everydaydistractions. Share your observations and best practices to help foster a rich, contemporary, creative practice for all. 3:15pm–4:15pm Auditorium-Room 1 DISCUSSION: MINNESOTA’S OWN CLAYTOPIA (SSI) Moderator: Rachel Messerich Panelists: Linda Christianson, Guillermo Cuellar, Ani Kasten, and Will Swanson The St. Croix Valley Pottery Tour has been a staple of the Minnesota maker scene for 27 years. Join a conversation with four current hosts of the tour – Linda Christianson,

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Guillermo Cuellar, Ani Kasten, and Will Swanson – to talk about the history and future of this local claytopian treasure. 3:15pm–4:15pm Auditorium-Room 3 CO-LECTURE: CERAMICS: RECORD OF INNOVATION (H+C) By Janis Mars Wunderlich and Danielle Steen Fatkin Ceramic objects offer a tactile record of human history, literally capturing the fingerprints of early ingenuity. While texture and form provide evidence of abstract thinking, new technology allows a deeper investigation of material innovation, methods, and collaborations in developing cultures. 3:15pm–5:30pm L100 H (lower level) ARTIST STATEMENT COACHING SESSIONS Feeling insecure about your writing? The American Craft Council has gathered a team of editors to help. Bring a draft of your artist statement (250 words or fewer) and work with a mentor to improve it. Sign up in advance for a half-hour session at bit.ly/accnceca. Walkins may be considered depending on time and the availability of coaches. 3:30pm–4:30pm Auditorium Main LECTURE: UNDERSTANDING A GLAZE RECIPE (M+T) By Steve Loucks This presentation explains glaze recipes in terms of the ingredients’ roles as a glass, flux, or clay contributing ingredient. Also, how a glaze recipe should be ordered and how that order can help to understand and evaluate its qualities, for comparison, and assessment for adjusting the glaze. 3:45pm–4:30pm Auditorium-Room 2 LECTURE: ETSY & CLAY: AN INSIDER’S VIEW (CP) By Any Guelmann Is Etsy the right online platform for your business? Hear about its amazing potential and unique challenges for ceramic sellers, from the perspective of a former Etsy employee (and current potter) who spent seven years helping independent makers start and run creative businesses of all sizes.

4:30pm–5:30pm Auditorium-Room 1 DISCUSSION: THE SAINT JOHN’S POTTERY (SSI) Moderator: Samuel Johnson Panelists: Richard Bresnahan, Br. PaulVincent Niebauer, Raghavan Iyer, and Matthew Welch Forty years ago Richard Bresnahan returned from an apprenticeship in Japan to establish the Saint John’s Pottery and Johanna Kiln, an 87 foot long multichamber climbing kiln. The unique context of a Benedictine Abbey and local materials offered Bresnahan a community from which to make culture. Auditorium-Room 3 LECTURE: HISTORY OF TEA AND THE TEAPOT (H+C) By Jim Connell This lecture will explore the various historic facts, legends, and myths surrounding the origin of tea in China. The first teapots made in the village of Yixing, the exportation of tea and the teapot to Asia, Europe, and the world, and its impact on the social and intellectual life will be explained.. 4:45pm–5:15pm Auditorium Main LECTURE: GLAZE DEFECTS 101 (M+T) By Todd Barson Identification of and solutions for common glaze defects. Proper glaze formulation and control of glaze production, application, and firing can minimize glaze defects. Auditorium-Room 2 LECTURE: BRAND BUILDING WITH INSTAGRAM (CP) By Curt Hammerly Building a personal brand is an important step in successfully marketing your work. Instagram has quickly become one of the most powerful tools available to help get you started. While Instagram can be intimidating, this lecture will attempt to demystify this remarkable platform.

movement spearheaded by like-minded artists Alabama Shakes, Adele, and Sharon Jones & The Dap Kings. This is the moment, and this is the music that shall introduce the power of Rachel Kurtz’s voice and vision to a whole new audience.

5:30pm–7:00pm Auditorium Main AWARDEES/HONOREES Honorary Members Doug Casebeer Elaine Olafson Henry Winnie Owens-Hart Excellence in Teaching Lenny Dowhie Louis B. Marak Outstanding Achievement Richard Wukich Regional Award of Excellence Lyndel King Warren MacKenzie (posthumously) EM Swartout (posthumously) 7:30pm–9:00pm Hilton, Grand Ballroom CLAYSTORIES 5 Coordinated by Steven Branfman and Gerald Brown Potters are great storytellers and equally great listeners. Join us for the 5th installment of ClayStories, 90 minutes of shared experience. You’ll laugh, cry, be shocked, and revel in our amazing and often moving stories as we share our lives as clay artists. Have a story to tell? Don’t be bashful. The “open mic” segment is waiting for you! 9:30pm–1:30am Hilton, Grand Ballroom FRIDAY NIGHT DANCE – RACHEL KURTZ Minneapolis-based singer/songwriter Rachel Kurtz is poised for a breakthrough with her 2018 album, Love, Rachel Kurtz. A remarkable vocalist and magnetic stage presence, Kurtz has released a new 13-song collection of original soul, Americana, and blues tracks backed by some of Minneapolis’ finest session musicians. Following an unconventional career path, Rachel Kurtz has found acclaim and a national audience of thousands due to her appearances at a series of community service events held in sports arenas across the country. Raising awareness for world hunger, hurricane relief, and multicultural reconciliation, Kurtz’s powerhouse voice and heartfelt performances have been electrifying crowds in Atlanta’s Georgia Dome, New Orleans’ Superdome, Texas’ Alamo Dome, and hundreds of other concert venues from coast to coast. With her new album, Rachel Kurtz follows in the footsteps of gospel-activist diva Mavis Staples, while contributing to the neo-soul revivalist

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Program—Friday

3:45pm–5:30pm Ballroom B K-12 HANDS-ON: A “HANDS-ON” DEMO By Arthur Gonzalez I’ll demonstrate how to hand-build a hand. The general procedure is to start with the palm, then adding the fingers. Thirdly, choosing a gesture. This will dictate the look of the back of the hand and the addition of knuckles, bone and, finally, the wrist. Materials for this hands-on session will be limited to the first 100 participants.

2019 EMERGING ARTISTS LEFT TO RIGHT:

SARAH HEITMEYER GEORGE RODRIGUEZ SEAN SCOTT NICK LENKER

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Saturday, March 30

2019 EMERGING ARTISTS TOP TO BOTTOM:

QWIST JOSEPH LINDSAY MONTGOMERY Program—Saturday

Resource Hall, Gallery Expo, and Projects Space are CLOSED. 8:30am–11:00am Lobby A (lower level) REGISTRATION 8:30am–12:00pm Auditorium Foyer NCECA MERCHANDISE SALES 9:00am-10:15am Auditorium (Ballroom A overflow) Arrive early. Seating in the Auditorium will be provided to the first 3,433 attendees. Ballroom A – overflow seating for all other attendees. EMERGING ARTISTS PRESENTATIONS Sarah Heitmeyer Qwist Joseph Nicholas Lenker Lindsay Montgomery George Rodriguez Sean Scott 10:20am-11:20am CLOSING LECTURE: FROM WHERE I SIT. REPORTING IN FROM SOUTHERN CALIFORNIA, 30 YEARS & COUNTING By Tony Marsh Beliefs, observations, thoughts & prayers from over 30 years as an educator and more as a maker. Drawing from experiences of Mashiko, Japan to Long Beach State and the Center for Contemporary Ceramics, I will share some of what I think about ceramic art and how it is positioned at the moment in the world of contemporary fine art. 11:25am-12:20pm 2nd NCECA MEMBERS’ BUSINESS MEETING The NCECA Board of Directors encourages all members to participate in the governance of your organization. 12:30pm-1:30pm M101 A-C (mezzanine level) OPEN BOARD MEETING Members are invited to share questions, concerns, and ideas with the Board in this listening session.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

2020 EXHIBITION OPPORTUNITIES

2020 Exhibition Opps.

2020 NCECA JURIED STUDENT EXHIBITION artspace

Zero East 4th St. Richmond, VA 23224 www.artspacegallery.org/ (804) 232-6464 SUBMISSION DEADLINE: September 25, 2019 EXHIBITION DATES: March 25- April 21, 2019 The 2020 NCECA Juried Student Exhibition will run concurrently with MULTIVALENT: clay, mindfulness, and memory the 54th annual conference of the National Council on Education for the Ceramic Arts, Richmond, Virginia, March 25-28, 2020. Ceramic artists Virginia Scotchie and Salvador Jiménez-Flores will select works for the exhibition. ABOUT THE EXHIBITION JURORS Virginia Scotchie Virginia Scotchie, co-juror/curator for the 2020 NCECA Juried Student Exhibition, is head of ceramics at the University of South Carolina, Columbia. She holds a BFA in ceramics from University of North Carolina-Chapel Hill and completed her MFA at Alfred University in New York. Exhibited throughout the United States and abroad, Scotchie has received numerous awards including the Sydney Meyer Fund International Ceramics Premiere Award from the Shepparton Museum (Australia). She has lectured internationally and been an Artist in Residence in Taiwan, Italy, Australia, and the Netherlands. Her work is in public and private collections including the Yingge Ceramics Museum (Taiwan) and the FuLe International Ceramic Art Museums (China). Scotchie’s sculptural ceramics are abstracted from domestic objects and pottery, often considering the relationships between multiple parts to space that she envisions as a middle ground between the concrete reality of things made and their resulting meaning. Salvador Jiménez-Flores Salvador Jiménez-Flores is an interdisciplinary artist born and raised in Jalisco, México. Since coming to the United States, Jiménez-Flores has contributed to the art scene by producing a mixture of socially conscious installation, public, and studio-based art. He has presented his work at the National Museum of Mexican Art, Grand Rapids Art Museum, Urban Institute of Contemporary Art, Bemis Center for Contemporary, Arts and Casa de la Cultura in Jalisco, México amongst others. Jiménez46

Flores recently completed a two year-long artist residency at the Harvard Ceramics Program, Office of the Arts at Harvard University. Also he served as the Artist-In-Residence for the City of Boston. Jiménez-Flores is a recipient of the Joan Mitchell Foundation Painters & Sculptors Grants, The New England Foundation for the Arts, and was awarded the Kohler Arts Industry Residency for 2019. He was recently appointed Assistant Professor in ceramics at the School of the Art Institute of Chicago.

ABOUT THE VENUE artspace began in 1988 as an association of artists interested in exhibiting their own work and providing a space for other artists to reach a wider audience in the greater Richmond, Virginia area. Since then, artspace has maintained a gallery committed to showing first quality visual art in a variety of innovative styles and media. The gallery has also been the forum for original work in poetry, prose, drama, dance, and music. The monthly exhibitions and performance art series have placed artspace on the cutting edge of the artistic scene in Richmond.

FEES: Members: no entry fee Non-Members: $30 entry fee NCECA MEMBERSHIP: NCECA membership runs 12 months from the date of initiation or renewal. NCECA Membership fees are not included in any event registration. Membership is a standalone annual fee. If you are unsure of your Membership status, please login to your Member Profile which shows your expiration date or contact kate@nceca.net. To renew or become an NCECA Member, visit the Student membership page on our website nceca.net/ membership/student/ MEDIA & LIMITATIONS • All works must be primarily ceramic. Mixed media works will be accepted only when clay is the dominant material. •

Works involving video that references ceramic materials, process, history and/or extend expressive capacities of work in clay will be considered at the discretion of the jurors. Video work samples should be submitted as links to accessible files uploaded to YouTube, Vimeo, or similar platform. Up to two video samples may be submitted; however one must be no longer than two minutes in duration. Another link may be provided to a full-length video. Videos requiring private login information to be entered for review will not be considered.

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Works involving photography, whether digitally, or chemically produced, that reference ceramic materials, process, history and/or extend expressive capacities of work in clay will be considered at the discretion of the jurors.

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All work samples and attachments submitted must not include visual representation of the applicant’s name. This is to enable the adjudication process to be accomplished without bias of knowing artists’ identities. Any reference to an applicant’s name or school will disqualify participant from jurying.

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The jurors will make final selections after presenting the selected artworks to the venue for confirmation of their ability to install all works in a safe and professional manner.

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Floor and pedestal works must be selfsupporting. Wall hanging works,

artspace was first located in Shockoe Bottom but moved a couple of times in the first few years, ending up at 6 E. Broad Street in the early 1990’s. By 2003, the search was on for another space. Plant Zero, a new art center being developed concurrently in the Manchester District (on the south side of the James River) became the gallery’s new home. ELIGIBILITY Beginning in 2019, the NCECA Juried Student Exhibition, extended eligibility to students enrolled in higher education programs in ceramics throughout North America. Undergraduate, graduate, and post-baccalaureate students may apply. The applicant must be working towards a degree or be a post-baccalaureate in art at the time of submittal. Students enrolled at institutions on which the jurors currently serve as faculty are not eligible to apply. NCECA Membership is not a requirement of submission but members will receive complimentary entry fees for exhibition submissions as well as a range of other benefits.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

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Individual objects should weigh less than 100 lbs. and be of dimensions that can pass through a 36” x 80” entrance door. Larger works that are designed to be assembled from multiple parts in a modular fashion may be accommodated.

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NCECA and exhibition venue staff reserve the right to exclude from exhibition works that arrive at the venue in unstable condition.

ENTRY PROCEDURES & APPLICATION PROCESS Please visit www.nceca.net and find detailed information about submitting work for this exhibition under the CALLS tab. Jurying will be conducted from images of actual works available for the exhibition. DEADLINE: SEPTEMBER 25, 2019 (11:59PM MDT) All submissions must include declaration of a monetary value for insurance purposes. This value may not be altered at a later date. BEFORE beginning submission, applicants must be prepared to provide the following:· Artist statement: (up to 1000 characters with spaces) Do not include artist name in statement as this will be a blind jurying of artwork. Level of Study: Undergraduate, Graduate, or Post-baccalaureate School Name, Professor Name, Professor Phone, Professor E-mail Contact kate@nceca.net for questions or if you require technical assistance with submission. NUMBER OF WORKS No more than two pieces of artwork may be submitted. For each artwork, you may submit only two (2) media files. (i.e. Full view and detail view) Jurors will only consider up to two (2) works and review up to four (4) TOTAL media files (See media files details below) by each entrant. Jurying will be conducted from images of actual works available for the exhibition. EXCLUSIONS NCECA reserves the right to exclude from adjudication any submissions that include more than two works or more than two (2) media files per work. Please do not submit the same pieces to multiple NCECA calls in the same year. Additionally NCECA reserves the right to exclude from adjudication any submissions made with incorrect fees. It is the artist’s responsibility to verify and update member

status before submitting his/her work and paying the entry fee. NCECA will not process refunds to those who submit incorrect fees. APPLICATION PROCESS Create a CaFE profile at www.callforentry. org Artists’ names may not appear in any of the images or file names submitted for consideration. Upload Media Files - Uploaded media files will be stored in your CaFE Portfolio so you can submit them to calls. You will choose which media files to submit to a call when you fill out the application. Media file submissions must comply with specifications found at CaFÉ www.callforentry.org/image_prep.phtml For complete specifications, tutorials and resources please go to www.callforentry.org/ cafehelp.phtml CHANGES will not be permitted once an entry is accepted into the database. Once data is entered in the system, it cannot be altered. PROOFREAD your data carefully as this information may be used to generate the catalogue, insurance, and publicity information. Each work submitted must include the following details: • Title • Medium (60 character limit) • Height/Width/Depth • Retail value • Year completed • Primary Discipline (ceramics) • Description (300 character limit) ADJUDICATION Individual works will be selected through blind jurying. Artists’ names may not appear in any of the images or file names submitted for consideration Virginia Scotchie and Salvador Jiménez-Flores will make selections for the exhibition from digital images and work statements to develop the exhibition.The jurors will ONLY select actual artworks available for the exhibition. CATEGORIES AND AWARDS Merit awards will be determined by the jurors from the actual works and will be announced during the exhibition reception and at the Second Members’ Business Meeting. Recent NJSE Exhibition Awards have included NCECA, company and organizationally sponsored cash prizes and purchase awards. The final award list will be published at the time of the exhibition.

REQUIREMENTS & RESPONSIBILITIES: SHIPPING It is the responsibility of the student to securely pack their works for the exhibition, arrange and pay for shipping to and from artspace and insure their artworks while in transit. Artists needing to travel to install will be responsible to finance that travel and their housing and board themselves. All return shipping of unsold works must be paid in advance by participating artists who must be the shipper of record. NCECA will reimburse up to $150.00 per artist for shipping/transportation after the conference. Details on claiming reimbursements will be included in the loan agreement. NCECA recommends that all artists document their packaging process using digital images and text description prior to closing all crates and / or boxes for shipment. This documentation may provide critical information to support claims against carriers for damage in transit. If you are inexperienced with packing for shipping, consider reading this brief article on packing and shipping ceramics ceramicsfieldguide.org/chapter-8/ packing-fragile-materials/

2020 Exhibition Opps.

must be provided with hanging systems that are suitably fashioned to securely install.

INSURANCE AND SALES

artspace will provide insurance coverage of

work while on their premises for market value as confirmed by artspace or for the amount available. Artists will be responsible for insurance of work in transit. Artists will receive 50% commission on work sold. NCECA will not reimburse shipping/transport for work that is sold; purchaser is responsible for pickup or shipping charges. PHOTOGRAPHY Participating artists must agree to allow NCECA, the artspace, and visitors to photograph work while on display for educational and publicity purposes. Images of accepted works will be retained by NCECA for promotional purposes, posting on the NCECA website, and sharing with media related publications. NCECA may create a digital catalogue and/or an online version of the exhibition using images of accepted work. CATALOGUE NCECA has the right to produce a color catalogue documenting the exhibition experience through color images of artwork. Each artist in the exhibition will receive one (1) complimentary copy of the catalogue. Additional copies of the catalogue will be available for purchase-on-demand online.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

2020 EXHIBITION OPPORTUNITIES 2020 NCECA ANNUAL 2020 Exhibition Opps.

The Burdens of History / 2020 NCECA Annual Exhibition Visual Arts Center of Richmond 1812 W Main St. Richmond, VA 23220 & Glave Kocen Gallery 1620 W Main St. Richmond, VA 23220 “Judge the art of a country, judge the fineness of its sensibility, by its pottery; it is a sure touchstone.” - Herbert Read ENTRY DEADLINE: Wednesday, June 26, 2019 (11:59pm MDT) EXHIBITION DATES: Visual Arts Center of Richmond: March 18-May 2, 2020 Glave Kocen Gallery March 1-31, 2020 ABOUT THE NCECA ANNUAL The most well-known myths of American Studio Ceramics are often not the most inclusive, and by definition, do not represent every voice. The Burdens of History seeks to broaden the narrative, featuring artists and artworks that both celebrate and critique the history of the field. The exhibition is a platform for artists who approach ceramics as pluralistic, who broaden representation in the field, and who consider the many histories/ herstories/theirstories of clay to make new touchstones for today. Their performances, videos, ephemera, and objects engage not only a material knowledge of clay but knowledge of its social history. Rooted in the past, but moving in new directions, these works--and the artists who made them--demonstrate the continued vitality of the multivalent field of ceramics. ABOUT CURATOR ANNA WALKER Anna Walker is the Assistant Curator of Decorative Arts, Craft, and Design at the Museum of Fine Arts, Houston (MFAH) where she is responsible for the exhibition, research and publication of the craft collection, the proposal of acquisitions, and the development of a long-term collections strategy. Prior to joining the MFAH, she was the Curator at the Houston Center for Contemporary Craft (HCCC). She has lectured widely on craft and contributed essays for Metalsmith Magazine, American Craft 48

Inquiry, and the 2016 Renwick Invitational: Visions and Revisions catalogue. Her most recent projects at the MFAH include the exhibitions In the Studio: Craft in Postwar America, 19501970, In Conversation: 18th Century Influences on Contemporary Craft, and Materials and Meaning in Dutch Jewelry from the Museum’s Collection. She is co-curating the forthcoming retrospective of Olga de Amaral with Cranbrook Art Museum opening in 2020. In autumn 2018 she will present “The Personal is Political: Exploring Constructions of Identity in the Work of Jennifer Ling-Datchuk” at the Textile Society of America’s 16th Biennial symposium. ABOUT THE GALLERIES The 2020 NCECA Annual, The Burdens of History, will be spread across two of Richmond, Virginia’s leading venues for contemporary art: The Visual Arts Center of Richmond and Glave Kocen Gallery. The two venues are within a short distance of one another in one of the cities most vibrant art communities and represent an opportunity for ceramic artists to reach audiences from both the nonprofit and for profit art markets. The Visual Arts Center of Richmond (VisArts) has helped adults and children explore their creativity and make art since 1963. Each year, the organization touches the lives of more than 40,000 people through its classes, exhibitions, community outreach programs, camps, workshops, and special events. Founded as the Hand Workshop, the organization moved to the historic Virginia Dairy building at 1812 West Main Street, where it leased space for 17 years before purchasing and later renovating the building. Completed in 2007, the renovation transformed the facility into an inviting and inspiring 30,000-square-foot arts center, which includes the 1,800-square-foot True F. Luck Gallery. The gallery’s focus is on materials and processes of contemporary artists. The 3,200 square foot Glave Kocen Gallery occupies a converted bottling warehouse at 1620 West Main Street, providing an ideal art space to showcase contemporary works. Husband and wife gallery owners, Jennifer Glave and BJ Kocen, established the gallery in 2007. Since 2013 the gallery has been voted one of the Best Art Galleries in Richmond recognized by Virginia Living, Richmond Magazine, and local weekly arts and culture rag, Style Weekly. Expansion of the exhibition to these two venues will allow for the largest exhibition space that NCECA has enjoyed for this cornerstone project of the annual conference in recent years.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

ELIGIBILITY Submission of works for consideration is open to the broad field of ceramic art. Artists must be over 18 years of age and not matriculating for a degree in higher education. A membership is not a requirement of eligibility, however, NCECA members receive complimentary entry fees for exhibition submissions. Members: no entry fee Non-Members: entry fee is $35 Membership in NCECA is paid on an annual basis and is not included in conference registration. NCECA membership runs 12 months from the date of joining or renewal. If you are unsure of your Membership status, please login into your NCECA Profile at nceca. portal.membersuite.com/Login.aspx to check your expiration date or contact kate@nceca.net. To renew or become a member of NCECA, go to: www.nceca.net/membership/ MEDIA All works must be … …primarily ceramic. Mixed media works will be accepted only when clay is the dominant material. Video featuring clay or ceramics will be juried; the link provided must be anonymous, any reference to an applicant’s name will disqualify participant from jurying; …able to fit through the venue’s entryways and be safely installed on premises. Floor and pedestal works must be self-supporting. NCECA and exhibition venue staff reserve the right to exclude from exhibition works that arrive at the venue in unstable condition. The curator will make final determinations; …completed within the last two years prior to the entry deadline and should be responsive to the theme of the exhibition. Works shown in previous NCECA exhibitions are not eligible. Please do not enter the same work in more than one NCECA exhibition in the same year. ENTRY PROCEDURES Please visit www.nceca.net and find detailed information about submitting work for this exhibition under the CALLS tab. Jurying will be conducted from images of actual works available for the exhibition. Applicants must first create a CaFÉ™ profile at www.callforentry. org. Uploaded media files will be stored in your CaFE Portfolio so you can submit them to calls. You will choose which media files to submit to a call when you fill out the application. Media file submissions must comply with specifications found at CaFÉ www.callforentry.org/image_ prep.phtml

DEADLINE: June 26, 2019 (11:59pm MDT) All submissions must include declaration of a monetary value for insurance purposes. This value may not be altered at a later date. NUMBER OF WORKS: Interested artists may submit up to three (3) distinct works with no more than two (2) media files (images, video, or audio) per work, not to exceed six total media files. (See media files details at www.callforentry.org/image_prep. phtml EXCLUSIONS: NCECA reserves the right to exclude from adjudication any submissions that include more than three (3) works or more than two (2) media files per work. Additionally NCECA reserves the right to exclude from adjudication any submissions made with incorrect fees. It is the artist’s responsibility to verify and update member status before submitting his/her work and paying the entry fee. NCECA will not process refunds to those who submit incorrect fees. ADJUDICATION: Individual works will be selected through blind jurying. Artists’ names may not appear in any of the images or file names submitted for consideration. Curator Anna Walker will make selections for the exhibition from digital images and work statements to develop the exhibition. INSURANCE The exhibition venues shall maintain insurance coverage for all works included in the exhibition only while they are on its premises. It is the responsibility of the artists to provide insurance coverage for their work while it is in transit. The gallery insurance will provide coverage for up to 50% of the works reported retail value. Retail value must be reported even for works included in the exhibition that are not available for purchase. In the event that damages occur to works in the exhibition, artists may be required to demonstrate that the value(s) declared are established fair market values. SHIPPING, DELIVERY AND RETURN It is the responsibility of artists to securely pack their works for the exhibition, arrange and pay for shipping to and from the exhibition venue, and insure their artworks while in transit. NCECA recommends that all artists document

their packaging process using digital images and text description prior to closing all crates and /or boxes for shipment. This documentation may provide critical information to support claims against carriers for damage in transit. The exhibition will be taken down and works will be packed for return shipping immediately after the close of the exhibition. All return shipping of unsold works must be paid in advance by participating artists who must be the shipper of record. Shipping reimbursement requests must be supported by original receipts and will be limited to no more than $500 for each complete work included in the exhibition. In consultation with the exhibition development team (curator, gallery director, and NCECA exhibitions director) it may be determined that some works selected for the exhibition may require artists to travel to the venue in order to participate in installation. With approval of the exhibition development team, artists travelling to the site to install works may request travel reimbursement in lieu of shipping reimbursement. Artists who choose to hand deliver their works may be able to request reimbursement at NCECA’s allowable mileage rate in lieu of shipping reimbursement. Artists will be responsible to finance any travelrelated expenses that are not pre-approved by the exhibition development team. Additional details on claiming reimbursements will be included in the loan agreement.

2020Exhibitions Exhibition Opps.

For complete specifications, tutorials and resources please go to www.callforentry.org/ cafehelp.phtml

SALES Works to be offered for purchase at the discretion of artists included in the exhibition. Artists will receive 50% of the purchase value on works sold and 50% will be retained as commission by NCECA and the exhibition venue. Shipping of purchased works will be the responsibility of collectors. PHOTOGRAPHY Participating artists must agree to allow NCECA, the exhibition venue, and gallery visitors to photograph work while on display for educational and publicity purposes. Images of accepted works will be retained by NCECA for promotional purposes, posting on the NCECA website and sharing with media related publications. CATALOGUE: NCECA reserves the right to produce a color print and/or electronic catalogue for the exhibition featuring an essay by the curator along with statements and images of artwork by all participating artists. Each artist in the exhibition will receive two (2) complimentary copies of the catalogue. The catalogue will be available for pre-order purchase online and at the conference so long as supplies remain. NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

2020 CONFERENCE PROPOSALS 2020 Conference Proposals

The 2020 NCECA Conference will take place March 25–28, 2020 in Richmond, Virginia.

MULTIVALENT: Clay, Mindfulness, and Memory NCECA’s 54th annual conference takes place March 25-28, 2020 at the: Greater Richmond Convention Center 403 N 3rd St Richmond, Virginia 23219 A region steeped in history and engaged with reinvention, the arts, teaching and learning are at the heart of Richmond, Virginia’s vision for innovation. The primary material of ceramic art, clay, connects our human experience from our local communities to distant places, and times long past. Clay’s receptivity to human touch carries the hands of distant and past makers into the here and now. Ceramic art’s diversity of expression and continuous invention generate affinities that extend the human imagination. NCECA’s 54th annual conference will explore ways that ceramic artists are charting new pathways from the complex meanings of our interwoven histories. What are the sources of inspiration that influence and impact our work today? How are we grappling with issues to keep clay vital in classrooms, museums, and community settings? How are our ideas about and practices of making changing? How are we learning from and adapting to the interplay of cultures in the contemporary world? What is at stake as we work to sustain cultural legacies in a shifting present and unknown future? How can we deepen appreciation and expand engagement with clay for individuals and communities? What do we hope to achieve through these deepened and expanded experiences? NCECA seeks programming proposals that resonate with these questions and others related to its 53rd annual conference. Traditions and innovations coexist throughout the history of ceramic art. Let’s gather to share our ideas and research about our creative work with clay in the 21st century. Clay is a medium steeped in history, process, 50

and divergent approaches. When we come together to grapple with change, new models of creating, teaching, and learning, we have the capacity to crystalize knowledge and share diverse understandings of community. NCECA’s board of directors is made up of ceramic enthusiasts: educators, students, makers, businesspersons, and culture workers. They will read proposals individually and consider them collectively to make selections for the conference program. What do we want to see in a proposal? A successful proposal will clearly demonstrate that … the topic to be presented is well-thought through; … each presenter will share her/his knowledge and experience with her/his topic in ways that are informed, fresh, and unique; … thought provoking, divergent, or underexplored perspectives are being explored; … information is relevant to the conference theme; … the information to be presented is relevant to concerns in the field today; … different interests and audiences in the conference community are represented in the program. NCECA reserves the right to curate and develop programming that strengthens the quality and range of experiences related to the conference theme, sense of place, and other strategic objectives. If you have questions about Program Proposals, please email: mkcloonan.nceca@gmail.com LECTURES, PANELS, DISCUSSIONS, DEMONSTRATING ARTISTS, MAKER SPACE DEADLINE: WEDNESDAY MAY 15, 2019 Proposals for conference presentations should correspond with one of the following program strands. You will also be asked to identify tags and target all appropriate audiences in your submission: Career Paths- Professional practices, business knowledge, and skills (planning, marketing, networking) Presentations may run from 30-90 minutes.

Clay Discourse - Presentations on critical thinking, language and judgement, examining how we consider controversial issues in works of ceramic art. How do we analyze meaning, discern qualities, think about and evaluate works of art? What are the philosophical underpinnings pertaining

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

to works of art and the creative process with clay? Presentations may run from 30–90 minutes.

Demonstrating Artists - mid- to latecareer artists whose work has been widely exhibited to serve as Demonstrating Artists. NCECA reserves the right to curate the demonstrating artists program.

Histories and Contexts - Presentations that shed new insights on ceramic traditions and/or expand awareness of clay work by peoples working at different periods. How did the environment and events taking place in different locales and eras impact the work that took place there. How was it influenced by neighboring or distant cultures? Learning Modalities - Presentations that involve innovations and or research in pedagogy, curriculum, instruction, assessment. These presentations can be geared towards the interests K-12, community education, museums, higher education, apprenticeship, practicum, or other forms of formal and informal education. Presentations may run from 30–90 minutes.

Maker Space - Hands- and minds-on presentations that share specific techniques, tools, and processes used in creating ceramic art, whether using traditional methods or new technologies. During recent conferences, these presentations have taken place in Process Room and Clay Fab Lab. Presentations may run from 30–60 minutes.

Materials and Technology - Clay nerds delight! Presentations on clay, glazes, firings, tools, etc. that inform understandings of the complex events that can occur through ceramic production. This is the place where the scientific and creative process collide. Share the hard learned lessons you have earned through research, trial, error, and serendipity. Presentations may run from 3090 minutes. Social and Sustainable Impacts Presentations on collaboration, community, and processes that offer new insights into how clay can be incorporated in programs and contexts that bring people together (alternative frameworks for creative production, creative encounters with clay in unanticipated places, working models that demonstrate relational and environmental concerns). Presentations may run from 30–90 minutes.

Staged at the heart of the annual NCECA conference, Projects Space is a platform for ceramic artists to create and present works that incorporate clay in time-based, performative, relational or site responsive contexts. Artists may submit proposals for works that fill half of a day, a full day, or multiple days of the annual conference. (A schedule of Projects Space artists will be developed to facilitate engagement with visitors beginning Tuesday evening and running through Friday afternoon of the conference.) Successful proposals will explore and expand on interpretations of the 2020 conference theme, MULTIVALENT: Clay, Mindfulness, and Memory. EMERGING ARTISTS DEADLINE: WEDNESDAY, OCTOBER 2, 2019 NCECA’s Emerging Artists program recognizes exceptional early career artists highlighting them to an international audience during NCECA’s Annual Conference and promoting them year round through blog.nceca.net. The awards include opportunities for increased exposure through exhibition and special events. NCECA members creating work offering new/exciting/thoughtful perspectives on the ceramic medium, expanding upon genres of creative production and inquiry are qualified as candidates for this award. An Emerging Artist may be at the early stages of receiving recognition for his/her work but is currently underrepresented through exhibitions or publications that might otherwise bring the work to wide attention. The intent of the award is to recognize, cultivate and amplify vital, new voices of creative endeavor in ceramics. The award enables these artists to reach broader national and international audiences and impact discourse in the field. Learn more about conference proposals, Projects Space, and Emerging Artists submissions under the CALLS tab at http:// nceca.net/ CLAY CONVERSTATIONS, SHORT FORM , AND STUDENT INTERESTS DEADLINE: WEDNESDAY OCTOBER 9, 2019 Clay Conversations - Do you want to connect with others pursuing similar interests in clay? Sessions take place on Wednesday (the first day of conference) so that participants can connect with those

who have similar interests early in the week and sustain informal dialog throughout the conference and beyond. All session leaders should be prepared to facilitate highly interactive discussion groups on the topic proposed. The proposer of the session should indicate whether the leader intends to make formal introductory remarks or simply share questions on which the leader wants the group to reflect during the session. Facilitators are encouraged to invite additional questions from participants.

storytelling. During recent conferences, these presentations have taken place in venues like International Slide Forum, Blinc or Clay Stories. Presentations may run from 7–20 minutes.

2020 Conference Exhibitions Proposals

PROJECTS SPACE DEADLINE: WEDNESDAY, MAY 15, 2019

Student Interests - This includes studentled presentations as well as student focused programming sessions proposed and delivered by people who are not currently students. Presentations may run from 30–60 minutes.

Short Form - Brief presentations by international artists, new projects and

CALENDAR 2020–2021 PROPOSALS

DEADLINES

CONCURRENT EXHIBITIONS

4/17/2019

LECTURES, CO-LECTURES, & PANELS

5/15/2019

DEMONSTRATING ARTISTS

5/15/2019

PROJECTS SPACE

5/15/2019

VENUE ORIGINATED EXHIBITIONS

6/12/2019

NCECA ANNUAL EXHIBITION

6/26/2019

GALLERY EXPO

6/26/2019

NCECA JURIED STUDENT EXHIBITION

9/25/2019

EMERGING ARTISTS

10/02/2019

AWARDS NOMINATIONS

10/09/2019

BOARD NOMINATIONS

10/09/2019

SHORT FORM

10/09/2019

CLAY CONVERSATIONS

10/09/2019

STUDENT INTERESTS

10/09/2019

REGINA BROWN UNDERGRADUATE FELLOWSHIPS

10/09/2019

GRADUATE STUDENT FELLOWSHIPS

10/09/2019

MULTICULTURAL FELLOWSHIPS

10/09/2019

INTERNATIONAL RESIDENCIES

1/22/2020

2021 CONCURRENT EXHIBITIONS

4/15/2020

2019–2020 MARK THE DATE CONFERENCE REGISTRATION OPENS NATIONAL CLAY WEEK #GLOBALDAYOFCLAY 2020 RICHMOND, VA CONFERENCE

10/2019 10/7-13/2019 2/12/2020 3/25-28/2020

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

2019 NCECA EXHIBITIONS

2019 NCECA Exhibitions

2019 NCECA ANNUAL: THE FORM WILL FIND ITS WAY: CONTEMPORARY CERAMIC SCULPTURAL ABSTRACTION

NCECA JURIED STUDENT EXHIBITION

JANUARY 22 – MARCH 30, 2019

MARCH 25 – APRIL 20, 2019

Katherine E. Nash Gallery, Department of Art, University of Minnesota 405 21st Ave S, Minneapolis, MN 55455 RECEPTION: 5– 9 PM THURSDAY, MARCH 28, 2019

RECEPTION: 5–9PM, THURSDAY, MARCH 28, 2019

It’s been our honor to work beside guest curator Elizabeth Carpenter and Katherine E. Nash Gallery Director Howard Oransky on behalf of the National Council on Education for the Ceramic Arts (NCECA). The Form Will Find Its Way: Contemporary Ceramic Sculptural Abstraction, an exhibition several years in the making, seeks to capture energies through which contemporary artists are exploring the ceramic medium through experimental and risk-taking investigations of materiality. Art is sometimes differentiated from the realm of nature as an act involving human imagination, yet clay somehow brings us closer to nature as experience. Though experiences are intangible, somehow clay makes them touchable. Artists may be drawn to abstraction because it engages us with expressions of spirit and imagination at a time when very little in our worlds can be taken for granted. Clay’s receptivity to physical energies, its capacity to solidify effects of atmospheric change, heat, and time, encapsulate fleeting moments and emulate events that unfold over millennia in the physical world. NCECA’s exhibitions program revolves around collaborative relationships built through planning our annual conference. We are grateful to the artists whose work is included in the exhibition as well as those for whom the response to their submissions was not the one for which they had hoped. Some of our artists are being exhibited through the courtesy of their dealers, and we are grateful for this cooperation as well. Support from the ArtWorks program of the National Endowment for the Arts, a federal agency; the Harlan Boss Foundation for the Arts, faculty and staff of the Department of Art of the University of Minnesota, and Continental Clay Company have all been instrumental to this undertaking. The dedication of NCECA staff members Candice Finn and Kate Vorhaus and the unflagging support of NCECA’s Board of Directors have been invaluable guide stars throughout the planning and development of this exhibition.

As our jurors write to the accomplishments of the artists represented in this year’s exhibition, we would like to acknowledge the impacts this, and subsequent years will have on the newly acronymed NJSE for students around the world. 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 national students when there is literally an entire world of student makers?

Joshua Green, Executive Director Brett Binford, Exhibitions Director

Soo Visual Arts Center 2909 Bryant Ave S #101 Minneapolis, MN 55408

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

The 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. Brandon Schnur & Ashlyn Pope NCECA Student Directors At Large

Left to Right: Dylan Beck, Nicole Cherubini, Nolan Baumgartner, and Jeffrey Haddorff, from the 2019 Annual

27th ANNUAL CUP EXHIBITION AND SALE

MARCH 27–29, 2019

Minneapolis Convention Center Rooms: M101 A-C (mezzanine level) Organized and presented by The National K–12 Ceramic Exhibition Foundation, Inc.

Minneapolis Convention Center Rooms M100 B-E (Mezzanine Level) Coordinated by Richard Wehrs

RECEPTION: 4:30PM – 5:30PM WEDNESDAY, MARCH 27, 2019 ABOUT THE 22nd ANNUAL NATIONAL K–12 CERAMIC EXHIBITION

We welcome all members and attendees to the 22nd Annual National K-12 Ceramic Exhibition, the premier annual juried ceramic competition for Kindergarten through Grade 12 (K-12) students in the United States. Designed to highlight outstanding creativity with clay by school aged youth, the exhibition takes place in a different city each year in conjunction with the annual conference of the National Council on Education for the Ceramic Arts (NCECA). This year’s juror, Eva Kwong brings a wide range of experience from her work at Kent State, University of Akron, Anderson Ranch Arts Center, University of Miami, Cleveland Institute of Art, Penland School of Crafts, Arrowmont School of Arts, Appalachian Center, Rhode Island School of Design, Ohio and Slippery Rock Universities, Oregon College of Art & Craft, Archie Bray Foundation, Northern Clay Center, and Cranbrook Academy of Art. Eva Kwong received her BFA 1975 from the Rhode Island School of Design and her MFA 1977 from Tyler School of Art. Eva credits her high school art teacher Doris Weingarten for inspiring her to continue to study art in college. NCECA has proudly supported this exhibition which grew out of breakout sessions at earlier conferences. Created in 1998 by Leah Schlief, the exhibition has grown to become one of the best attended at the annual conference. In 2001, Dr. Bob Feder organized a group of founding members to sustain the exhibition by creating The National K-12 Ceramic Exhibition Foundation, now a federally recognized 501 (c)(3) non-profit foundation. Currently the board of trustees distributes more than 100 donated awards including scholarships for 12th grade students planning to study ceramics after high school, which last year totaled more than $500,000. All NCECA members are invited to attend and consider joining this program to support excellence in American ceramic art education.

2018 NCECA Exhibitions Exhibitions

22nd ANNUAL NATIONAL K–12 CERAMIC EXHIBITION

Drop off cup donations. All donated cups will be considered for the NCECA Cups of Merit Commission Award. In its 18th year, the award is designed to add further recognition of the extraordinary quality of these donations. The selections will be made by a jury’s review of all donated cups and winners announced on Saturday. The NCECA Cups of Merit Award was established to recognize outstanding craftsmanship and artistic merit among the generous donors to NCECA’s Annual Cup Sale. Each year NCECA appoints a small panel of three distinguished ceramic artists to make merit awards from the cups submitted. Jurors will make purchase awards totaling up to $1000 to three or more makers. Each award will be an amount sufficient for NCECA to purchase two or more cups based on the pricing presented to the sale administrator. NCECA will retain one of the cups in its collection for as long as is practical. Cups may be periodically removed from the collection to recognize individuals for outstanding service or generosity to NCECA. Purchase of cups begins at 8:00am, Friday, March 29.

Left: Jennifer Masley, from the NJSE Right: Charles Cook, from the NJSE

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

NCECA MEMBERSHIP

NCECA Membership

Membership in NCECA empowers the leading nonprofit organization dedicated to the ceramic arts, teaching and learning to develop programming, exhibitions, and opportunities that support and elevate the field. NCECA has membership types for individuals, organizations, businesses, and galleries. Learn more about benefits and costs of membership at https://nceca.net/ membership/. STANDARD MEMBERSHIP •

COMPLIMENTARY ENTRY TO NCECA EXHIBITIONS CALLS

•

ONLINE SEARCHABLE DIRECTORY - As a Standard Member, the Online Searchable Member Directory will allow you to stay in touch with your friends and colleagues all year. You can now update your own contact information when you change your address, phone number, email or web site.

•

MEMBER EVENT POSTING - Post information about your upcoming workshops, sales, openings or other newsworthy events on the NCECA website for public view.

•

MEMBER DISCOUNTS - Conference Registrations, Publications, other Events, Merchandise, Ceramic Materials, Supplies, Shipping, Travel/Lodging and Business Services.

•

ANNUAL JOURNAL - The NCECA Journal is published annually, and features excerpts from all presentations at the annual conference.

STUDENT MEMBERSHIP Includes all the Standard Membership benefits plus: •

COMPLIMENTARY ENTRY TO NCECA EXHIBITIONS CALLS

•

CONFERENCE REGISTRATION DISCOUNT – discounted student registration rates for NCECA’s Annual Conference

•

FELLOWSHIPS/SCHOLARSHIPS – student members are eligible to apply for undergraduate and graduate level fellowships and NCECA-sponsored scholarships to symposia and regional conferences

UNDERGRADUATES and GRADUATES must be enrolled, degree-seeking students in a college or university. POST-BACCALAUREATES are those who are taking courses in a certificate granting program within a college or university following the completion of an undergraduate degree. Students must provide an e-mail or document from their institution verifying their degree or certificate seeking enrollment status in two or more courses within a college or university. Fees and documentation will be required to be submitted for each year of membership. PREMIUM MEMBERSHIP Includes all the Standard Membership Benefits plus: •

COMPLIMENTARY ENTRY TO NCECA EXHIBITIONS CALLS

•

PARTNER LINKS – Your “live linked” logo on the NCECA website. Logos of Premium Members will be displayed on the NCECA web site, grouped by category. All visitors to the NCECA website can go directly to your website by clicking your company name or logo from the NCECA site.

•

PRIORITY EVENT REGISTRATION – NCECA will notify you first for events giving you priority event registration.

•

HOTEL BLOCK ADVANCE NOTICE – Receive early alerts of hotel locations and availability

NCECA offers three types of organizational memberships: CORPORATE, GALLERY, INSTITUTIONAL

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

GETTING AROUND THE MINNEAPOLIS AREA

Slightly farther out into south Minneapolis, you’ll find dozens of treasures—the chain of lakes, Uptown (noted in the Prince song), global cuisine (and so much of it!) all along “eat street” on Nicollet Avenue, and a slew of private galleries, universities and cultural centers, and medium-specific art centers—all hosting myriad clay shows, including the NCECA Annual and NCECA Juried Student Exhibitions. Northeast has long been referred to as the arts district in Minneapolis and the area continues to boom with creative talent—from culinary to breweries to fine art and craft! Nestled within this community are a host to an international film festival, a clay distributor, a medium-specific art center, an array of artist live and work spaces, and the American Craft Council offices, including its library, archives, and collection! Did you know that Minneapolis is also home to approximately 300 works of public art? Weather permitting, you can now explore the public art collection through six interactive map tours, organized geographically. Visit http://www.minneapolismn.gov/dca/dca_ map?utm_content=&utm _medium=email&utm_name=&utm_source=govdelivery&utm_term= for maps and artist listings! And, the Twin Cities includes another amazing center of food, art and creativity: St. Paul! Just 10 miles away from the Convention Center, St. Paul boasts equally amazing architecture and gems like the Minnesota Museum of American Art—“the M”—and the American Association of Woodturners, and the list goes on Along the way, shows are peppered at most of the numerous private colleges and universities between the two downtowns! BIKE

Although we don’t like to brag, Minneapolis regularly takes top rank as the best bike city in the U.S. Despite the winter weather, biking is a year-round sport in this neck of the woods. In the past few years, the city has worked hard to improve their on-street infrastructure to support and protect bikers. All new design must prioritize walkers, cyclists, buses, and cars—in that order. The improvements continue with the addition of protected bike lanes. With extensive trail systems, designated lanes, and bike boulevards, traversing on two wheels is often a faster way to get from point to point in the Twin Cities. Both Minneapolis and St. Paul have a ride share program, Nice Ride, with hundreds of docking stations and thousands of dockless bikes available for short term use. If you are looking to secure a bike for the duration of your stay, Freewheel’s Midtown location has everything you need

to travel on two wheels. Google maps can provide directions along designated bike paths, bike lanes, and rider friendly street routes throughout the twin cities. Grab your helmet and enjoy the ride. DRIVING

Driving in the Twin Cities is relatively stress free if occurring outside of rush hour or a late season snow storm. We encourage you to navigate via your mobile phone before you begin your drive to a particular part of town. Rush hour can be expected on major highways and downtown Twin Cities between 7 and 9 am and 5 and 6 pm. Note: I-35W through Minneapolis is under construction through fall of 2021 and may affect your travel in and out of the city from that direction. PARKING

Meet Minneapolis partnered with Spot Hero to enable visitors to the area to find parking near their destination. Availability and parking can be found here: https://www.minneapolis.org/map-transportation/ minneapolis-parking/. Outside of this service, free and paid parking abound in the Twin Cities. Minneapolis alone operates 8,000 metered spaces. The MPLS Parking app is recommended. PUBLIC TRANSIT

Buses are plentiful throughout Minneapolis and fares range from $2.00 to $3.25, depending on the time of day. When traveling a few blocks in the downtown zone, the fare is only $.50. Buses along Nicollet Mall downtown are free. Minneapolis and St. Paul have two trainlines: the Blue line connects downtown Minneapolis to the airport and Mall of America; the green line connects downtown St. Paul to University Avenue to downtown Minneapolis, for a total of 46 stations. Trains run every 10 – 15 minutes on average during day and early evening hours, and fees range from $2.00 - $2.50 per trip. Visit Metro Transit’s website for routes, ticket prices and schedules www.metrotransit.org. TAXI

In addition to numerous taxi services, Minneapolis now has adequate ride sharing services via Uber and Lyft.

SHUTTLE AND TOUR ROUTES These routes were designed by NCECA’s Onsite Conference Liaisons to help visitors maximize their viewing experience while not having to struggle with environmental and economic impact of individual car rentals, and also to mitigate some of the stress involved with navigating unfamiliar communities. Tickets for any of these exhibition routes are an option that anyone can consider. They are not a requirement of visiting any exhibition. You are not required to be registered for the conference to purchase a shuttle or tour ticket. The buses for all Timed Tours and Continuous Shuttle Routes depart from the sheltered area outside of the Minneapolis Convention Center. For more information or to answer any questions, please contact Lew White Tours at: 877-235-1843 (toll free) leww@lwti.com (email)

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Program—Friday 2018 Exhibitions Exhibition Guide

WALK

Yes, our average late March temperature in Minneapolis hovers between 44 and 49 degrees, but that doesn’t stop the locals from getting from point A to point B, so it shouldn’t stop you! More than 140 exhibitions are scheduled to take place in conjunction with the 2019 NCECA conference and weeks surrounding such. Several are within walking distance (the usual 2 mile radius of the Minneapolis Convention Center) and dozens more are a short bus/uber/lyft/lightrail ride away. Downtown Minneapolis is filled with theaters and live music venues (First Ave anyone?), eateries and shops. The Minneapolis Skyway System is a must stop for our out of town visitors as it is the largest, contiguous system of enclosed, second level bridges in the world, composed of roughly 8 miles of pathways connecting 80 city blocks: www.minneapolis.org/maptransportation/minneapolis-skyway-guide/. The Minneapolis College, Crowne Plaza Minneapolis Northstar Downtown Hotel, Gamut Gallery are all within a short walk from the Convention Center.

Spontaneous Response: The Innovative Ceramics of Don Reitz

The Last Dance, 2014 Reitz Family Trust

A Retrospective Exhibition August 29 - November 9, 2019 Illustrated catalogue with essays by Peter Held and Glenn Adamson Exhibition is available for travel For details and availability visit www.westmontmuseum.org 56

NCECA 2019 â&#x20AC;˘ 53rd Annual Conference Program â&#x20AC;˘ Minneapolis, Minnesota

955 La Paz Road, Santa Barbara, CA 93108

EXHIBITIONS GUIDE

Minneapolis Convention Center M101 A-C (mezzanine level 1301 Second Ave. S., Minneapolis, MN, k12clay.org Hours during conference week: Wed 10am–6pm, Thu 10am–4pm, Fri 10am–4pm. Reception: Wed, Mar 27, 4:30-5:30pm. On view Mar 27–29. 22nd Annual National K-12 Ceramic Exhibition The premier annual juried ceramic competition for Kindergarten through Grade 12 (K-12) students in the United States. Designed to highlight outstanding creativity with clay by school aged youth, the exhibition takes place in a different city each year in conjunction with the annual conference of The National Council on Education for the Ceramic Arts (NCECA). This year’s juror is Eva Kwong.

WALKING DISTANCE (under 1.5 miles; listed in order of distance from convention center) Westminster Presbyterian Church, Westminster Gallery 1200 S Marquette Ave., Minneapolis, MN, 612-332-3421 westminstermpls.org/ grow/adult-ed/westminster-gallery Hours during conference week: Mon–Fri 9am–5pm (Fri until 9), Sun 8am–12pm. Reception: Fri, Mar 29, 6–8pm. On view Mar 24–May 12.

The Saint John’s Pottery: 40 Years Selection of artists and work from the Saint John’s Pottery, marking the 40th anniversary of the studio and displaying layers of teacher/student relationships. Richard Bresnahan, Mitsuo Kakutani, Koie Ryoji, Samuel Johnson, Anne Meyer, Steven Lemke, Debra Keyes, Shumpei Yamaki, Daniel Siverson, and Brandon Russell. Curated by Dr. Rodney Allen Schwartz and Ryan Kutter.

Lakes & Legends Brewing Company 1368 Lasalle Ave., Minneapolis, MN, 612-999-6020, lakesandlegends.com Hours during conference week: Tue–Thu 3–10pm, Fri 3pm–12am, Sat 12pm–12am. Reception: Tue, Mar 26, 8–10pm. On view Mar 26–30.

Heroines, Hops, and Hounds Minnesota Women Ceramic Artists (MNWCA) celebrates breweries and ceramics in MN where, in the dogfriendly Lakes & Legends Brewery, the perfect beer drinking vessels are made from clay. Colleen Riley, Dawn Malcolm, Emily Murphy, Kristine Hites, Liz James, Lynnea Schwieters, Maia Homstad, Monica Rudquist, Sandra Daulton Shaughnessy, Wendy Thoreson, and many others. Organized by Kristine Hites. Minneapolis College— Whitney Fine Arts Center 1501 Hennepin Ave. (Gallery entrance is off of Yale Pl. and Loring Park), Minneapolis, MN, 540-905-1091, sociallyengagedcraftcollective.org Hours during conference week: Mon–Sat 9am–7pm, (Thu and Fri until 9pm). Reception: Thu, Mar 28, 5–9pm. On view Mar 2–30.

Ferment Features work by the Socially Engaged Craft Collective that considers fermentation and transformations that are social, collaborative and have deep roots in community engagement. Anna V Metcalfe, Lauren Karle, Jeni Hansen Gard, Forrest Sincoff Gard, nicole gugliotti, Holly Hanessian, M.C. Baumstark, Cheyenne Chapman Rudolph, and Tsehai Johnson. Organized by Anna V Metcalfe and the Socially Engaged Craft Collective.

Crowne Plaza Minneapolis Northstar Downtown Hotel 618 2nd Ave. S, Minneapolis, MN, 612-338-2288, cpminneapolis.com. Hours during conference week: Tues 5–9pm, Wed–Fri 10am–9pm, Sat 10am–1pm. Reception: Thu, Mar 28, 5–9pm. On view Mar 26–30.

Collaborative Companions In this exhibition unlikely suspects were invited to begin a conversation and collaboration, in vessel form, geared towards discovery, crosspollination, and understanding. Ashley Bevington, Mariko Paterson, Kevin Snipes, Mark Arnold, Carole Epp, Jillian Cooper, Arthur Halvorsen, Naomi Clement, Wesley Brown, and Renee LoPresti. Curated by Justin Rothshank and Eric Botbyl.

The Basilica of Saint Mary 88 North 17th St., Minneapolis, MN, 612 333-1381, www.mary.org Hours during conference week: Wed–Sat 10am–5pm. On view Mar 27-30.

St. Mary’s Basilica Site Projects Jeffrey Mongrain and Judy Moonelis will each be creating multiple sitespecific installations at The Basilica of Saint Mary in Minneapolis. This century old architectural landmark was the first basilica built in the United States. Curated by Johan Van Parys and Kathy Dhaemers; Director and Associate Director of Sacred Arts.

Program—Friday Exhibition Exhibitions Guide

CONVENTION CENTER

Gamut Gallery 717 S 10th St., Minneapolis, MN, 612-367-4327, gamutgallerympls.com. Hours during conference week: Tue–Sat 10am–5pm (Fri until 9pm). Reception: Fri, Mar 29, 5–9pm. Reception: $5; Free with conference badge or shuttle wristband. On view Mar 26–Apr 18.

Other Objects Through abstract and iconic sculptures, the work in this exhibition will bring forth the often overlooked, but common immaterial objects we are surrounded by in our daily lives. Amanda Salov, Andrea Marquis, Del Harrow, Ling Chun, and Jeff Campana. Organized by Andrea Marquis and Amanda Salov.

Art Resources Gallery International Market Square, 275 Market St. Ste. 166, Minneapolis, MN, 612-305-1090 artresourcesgallery.com Hours during conference week: Wed–Sat 9am–5pm (Fri until 9pm). Reception: Fri, Mar 29, 5–9pm. On view Mar 27–30.

Inspə’rāSH(ə)n Figurative group exhibition investigating many vehicles of inspiration which allow artists to move beyond what is already known and manifest concepts not thought possible. Angel DiCosola, Marsha Karagheusian, Rob Kolhouse, and Lisa Merida-Paytes. Organized by Lisa Merida-Paytes.

Minnesota Center for Book Arts 1011 Washington Ave. S, Ste. 100, Minneapolis, MN, 612-215-2520, mnbookarts.org Hours during conference week: Mon 9:30am–6:30pm, Tue 9:30am–9pm, Wed– Sat 9:30am–6:30pm (Fri until 9pm), Sun 12–4pm. Reception: Fri, Mar 29, 6–8pm. On view Feb 8–Apr 28. Chronicled in Clay: Ceramics and the Art of the Story Examines how contemporary ceramic artists use clay as a form of storytelling. This exhibition features narratives expressed in clay through text, imagery, multiples, and sequence. Eileen Cohen, Corie J. Cole, Paula McCartney, Stefana

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

EXHIBITION GUIDE

Exhibition Guide

McClure, Derek Prescott, Teri Power, Nicole Roberts Hoiland, Molly Streif, and Jennifer Rose Wolken. Curated by Torey Erin.

NORTH EAST AND NORTH MINNEAPOLIS 2001 A Space 2001 5th St. NE, Minneapolis, MN, 612-623-3138, 2001aspace.com Hours during conference week: Mon–Fri 12pm– 6pm (Wed open at 10am, Fri until 9pm), Sat 12–2pm. Reception: Fri, Mar 29, 5–9pm. On view Mar 11–Mar 31. Not wheelchair accessible. Personifications Highlights the human figure as primary subject through diverse aesthetic styles, content, and construction methods. Lisa Marie Barber, Attila Ray Dabasi, and Krissy Catt. Organized by Lisa Marie Barber. American Craft Council 1224 Marshall St. NE, Minneapolis, MN, 612-206-3100, craftcouncil.org Hours during conference week: Mon–Thu 10am–5pm, Fri 10am–9pm. Reception: Fri, Mar 29, 5–9pm.

Creative Collective: The Clay Studio as Claytopia in Philadelphia The artists in this exhibition have had a major impact on The Clay Studio’s mission to engage people with the creative power of ceramic art. We celebrate the work they have done over the last 45 years to help create a Claytopia in Philadelphia. Ken Vavrek, Jill Bonovitz, Kathryn Narrow, Leroy Johnson, Jennifer Martin, Kukuli Velarde, Doug Herren, Linda Cordell, Hide Sadohara, Matthew Courtney, and others. Curated by Jennifer Zwilling. On view Feb 8–Apr 15.

American Craft Council Library and Archives 1224 Marshall St. NE, Minneapolis, MN, 612-206-3100, craftcouncil.org Hours during conference week: Mon–Thu 10am–5pm, Fri 10am–9pm. Reception: Fri, Mar 29, 5–9pm.

ON VIEW: Highlights from The American Craft Council Library and Archives Selected objects and materials from the ACC celebrating the ceramic arts and its cultural legacy. Ken Ferguson, Otto Heino, Karen Karnes, Harvey K. Littleton, Theodore Randall, Daniel

Rhodes, David Shaner, Toshiko Takaezu, Byron Temple, Robert Turner, and others. Organized by Michael Radyk. On view Mar 25–29. California Building 2205 California St. NE, Minneapolis, MN, 612-788-5551, californiabuilding.com Hours during conference week: Tue–Fri 8am–9pm, Sat 8am–6pm. Reception: Fri, Mar 29, 5–9pm.

Directly Playful Work created by artists in residency at the Watershed Center for the Ceramic arts. The artists collaborated on numerous pieces that pushed their work in new directions. Lisa Buck, Ian Childers, Mike Cinelli, James Davis, Amanda Dobbratz, Rachel Donner, Bebe Federmann, Yoonjee Kwak, Didem Mert, and others. Organized by Didem Mert. On view Mar 26–30. Exuberant Ornament A celebration of color and pattern in clay. Kirsten Bassion, Colleen McCall, Hannah Niswonger, Adero Willard, Hayne Bayless, Meredith Host, Jason Bige Burnett, and Nancy Gardner. Organized by Hannah Niswonger. On view Mar 27–30. The Rat Trap Clay Club Collaboration Event Join a diverse group of artists as they collaborate on ceramic objects that address social, political and cultural issues and view a show of collaborative and individual works. Rat Trap Clay Club, Raven Halfmoon, Ehren Tool, Jessica Putnam-Phillips, Eric J Garcia, Monica Van den Dool, Bruce Tapola, and Jesse Albrecht. Organized by Jesse Albrecht. On view Mar 26–30. Two Friends Under the Influence: Diego Valles and Marko Fields Works in clay by two artists, whose ideas and encouragement have influenced their mutual and independent development. Organized by Marko Fields. On view Mar 24–31.

Mojo Coffee Gallery in the California Building, mojocoffeegallery.com

MUGSHOT2 - 2nd International Biennial Juried Ceramic Coffee Mug Competition and Exhibition Featuring 400 of the finest contemporary mugs on the planet! Organized by Marko Fields. Hours during conference week: Mon 8am–9pm, Tue–Fri 7am–9pm, Sat–Sun 7am–6pm. On view Mar 25–Apr 28.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

SouthEast Gallery in the California Building

4X6X8: International Juried Tile Competition and Exhibition Celebrating and exploring the world of contemporary fired ceramic tiles of fixed dimensions. Juror: Lee Gruber, Syzygy Tile, Silver City, NM. Organized by Marko Fields. Hours during conference week: Mon 8am–9pm, Tue–Fri 7am–9pm, Sat–Sun 7am–6pm. On view Mar 15–Apr 15.

Clay Squared to Infinity 2505 Howard St. NE., Minneapolis, MN, 612-781-6409, claysquared.com. Hours during conference week: Mon–Fri 9am– 5pm, Sat 9–5pm. Reception: Fri, Mar 29, 5–9pm. On view Mar 4–30.

Small but Mighty Highlights a conceptually diverse sampling of contemporary ceramic sculptors working in small-scale ceramics to create a big impact. Shane Harris, Matt Mitros, Cj Jilek, Shoji Satake, Max Seinfeld, Linda Lopez, and Nathan Prouty. Organized by Shane Harris.

Collaborative Design Group 125 SE Main St. Ste. 240, Minneapolis, MN, 612-332-3654, collaborativedesigngroup.com. Hours during conference week: Mon–Fri 9am–5pm (Thu until 9), Sat 9am–2pm. Reception: Fri, Mar 29, 5–9pm. On view Mar 26–30. Trans-Pacific Dialogue: Marrying Form and Surface Across the Globe This exhibition posits that though diverse legacies can suggest a wide berth of geographic provenance, visual tendencies from disparate sources often collide and reverberate with commonality. Glenn Barkley, Andrew Casto, David Hicks, King Houndekpinkou, and Virginia Leonard. Organized by Andrew Casto and Mindy Solomon.

Continental Clay @ CO Exhibitions Gallery 1101 NE Stinson Blvd. (south entrance), Minneapolis, MN, 612-331-9332 continentalclay.com. Hours during conference week: Tue–-Fri 10–6pm (Fri until 9), Sat 12–6pm. Reception: Fri, Mar 29, 5-9pm. Exhibitions on view Mar 26–30. CLAYTOPIA | SEA Roots This international exhibition surveys a list of established and emerging artists of Southeast Asian origins by exploring notions of “topia” (place) in their work. Aung Myint, Vasan Sitthiket, Jason Lim, Naidee Changmoh, Rita

EXHIBITION GUIDE

You Extra Brings together a variety of ceramic artists to explore materiality and process. Artists worked within the material constraint of using Amaco’s Crystaltex glazes. Natalia Arbelaez, Matthew Dercole, Matt Fiske, Kirk Jackson, Adam Redd, Amy Santoferraro, Charles Snowden, Shawn Spangler, Ian Thomas, and Jacob Troester. Organized by Adam Redd. Foci Glass 2010 Hennepin Ave. E, Bldg. #10, Minneapolis, MN, 612-759-8476, mnglassart.org. Hours during conference week: Mon–Sun 10am–9pm. Reception: Fri, Mar 29, 5–9pm. On view Mar 25–May 12. Pitch, Tone, Modulation A visual duet dedicated to the influence of the Minnesota accent on our contemporary practice of making challenging hand-built pots. Leanne McClurg Cambric and Marc Digeros. Organized by Leanne McClurg Cambric.

Hennepin Made 144 Glenwood Ave., Minneapolis, MN, 612-345-5445, hennepinmade.com. Hours during conference week: Tue– Wed 10am–5pm, Thu–Fri 4–9pm, Sat 10am–5pm. Reception: Fri, Mar 29, 5–9pm. Exhibitions on view Mar 26–30.

Bonspiel 14 contemporary Canadian artists challenged to team their ceramic prowess with the theme of Winter + Winter Sports… Game On! Carole Epp, Pattie Chalmers, Amelia Butcher, Carly Slade, Michael Flaherty, Brian McArthur, Dawn Detarando, Martin Tagseth, Chris Pancoe, Andrew Tarrant, Toni Losey, Christopher Reid Flock, Marney McDiarmid, and Mariko Paterson. Organized by Mariko Paterson. KITSCH BITCH WITCH By using horror, the figure, and monstrosity, each artist communicates the Mingei ideology, Art of the People, through a vernacular of subculture and resistance. Roxanne Jackson, Lindsay Montgomery, and Meghan Smythe. Organized by Lindsay Montgomery.

Homewood Studios 2400 Plymouth Ave., Minneapolis, MN, 612-587-0230, homewoodstudios.com Hours during conference week: Tue–Sun 10am–5pm (Fri until 9pm). Reception: Fri, Mar 29, 5–9pm. On view Mar 26–30.

Voices From Elsewhere – Latecomers to Clay Five Minnesota artists paired with five national artists. All have taken non–traditional paths as latecomers to clay. Each draws on previous career experience for inspiration. Carol Patt, David Menk, Eva Miller, Colleen Riley, Brenda Ryan, Larry Buller, Kate Dameron, Layne Peters, Carolanne Currier, and Kim Short. Curated by George Roberts.

Minneapolis Clay Collective 1224 Quincy St. NE Ste. 135, Minneapolis, MN, 612-636-1300, minneapolisclaycollective.com Hours during conference week: Mon–Sun 10am–7pm (Fri until 9pm). Reception: Fri, Mar 29, 5–9pm. On view Mar 25–Apr 22. Not wheelchair accessible.

Minneapolis Evolves A single artist’s pottery does not live in a vacuum, but it is and will always be greatly affected by what has been made in the past and present. Catherine Veigel, Ruth Erickson, Melissa Favero, Zachary Wollert, Tabatha Jones, Danielle Fernández, Kori Parish, Brynne Macosko Paguyo, Linda Ge, and Joe Torke. Organized by Joe Torke.

Northrup King Building, Third Floor Gallery 1500 Jackson St. NE, Minneapolis, MN, northrupkingbuilding.com • mnwca.org Hours during conference week: Mon–Tue 12–5pm, Wed 10am–5pm, Thu–Fri 10am–9pm, Sat 12–5pm. Reception: Fri, Mar 29, 5–9pm. On view Mar 7–Apr 5. Unapologetic: Women’s Ceramics in the Land of Mingei-SotaMinnesota Women Ceramic Artists (MNWCA) Juried Exhibition Features works by current MNWCA members along with work by current and past jurors. Susan Beiner, Victoria Christen, Margaret Bohls, Eva Kwong, Mikey Walsh, Mary Roettger, Pattie Chalmers, Silvie Granatelli, Gail Kendall, Janet Williams, and Jan McKeachie Johnston. Juried by Susan Beiner and Victoria Christen. Organized by MNWCA.

Northrup King Building, Studio 394 1500 Jackson St. NE, Minneapolis, MN, northrupkingbuilding.com facebook.com/threeninefour Hours during conference week: Tue 12–5pm, Wed 10am–7pm, Thu–Fri 2–9pm, Sat 12–4pm. Reception: Fri, Mar 29, 5–9pm. On view Mar 26–30.

Program—Friday Exhibition Exhibitions Guide

Badilla-Gudino, Hadrian Mendoza, Pim Sudhikam, Aor Sutthiprapha, Eiair, Chanakarn Semachai, and others. Curated by Soe Yu Nwe.

Part & Parcel Examines recurrent themes of vessel, module, figure, and fragment. Artists were selected to display work contributing to the genesis of contemporary ceramics. Gratia Brown, Claudia Poser, Wendy Thoreson, and Lauren M. Tucci. Organized by Lauren M. Tucci.

Public Functionary 1400 12th Ave NE, Minneapolis, MN, 612601-3695. Hours during conference week: Mon-Thu 12-6pm, Fri 12-9pm, Sat 12-6pm. Reception: Fri, Mar 29, 5-9pm. On view Mar 25-30.

Ancestral Modernity Electric Machete Studios popup at Public Functionary features contemporary Indigenous PreColumbian instruments by 2018 McKnight Ceramics Fellow, Xilam Balam, Rebekah Crisanta de Ybarra, and live music by Curandero. Organized by Rebekah Crisanta de Ybarra.

Q.arma Building 1224 Quincy St. NE, Minneapolis, MN, 612-623-3782, qarmabuilding.com Hours during conference week: Tue–Sat 10am–7pm (Fri until 9pm). Reception: Fri, Mar 29, 5–9pm. Exhibitions on view Mar 26–30. Not wheelchair accessible.

Diverse Clay Thinking about and working with clay can consume our lives to a point where we are always performing in the role of the artist. This exhibition explores the diversity and expansive nature of clay. Melissa Favero, Kathryn Baczeski, Kori Parish, Aaron Moseley, Brynne Macosko Paguyo, Danielle Fernandez, London Dupree, and Joe Torke. Organized by Joe Torke. Heart Land Stories This is the work of storytellers, of artists reflecting on the human condition: what binds us together or tears us apart, what holds us safe, what exposes us to fear or failure. Anna V Metcalfe, Juliane Shibata, Kelly Connole, Mika Negishi Laidlaw, Allison Rose Craver, Katayoun Amjadi, and Erika Terwilliger. Organized by Jonathan Query and Katayoun Amjadi.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

EXHIBITION GUIDE

NCECA Exhibition Membership Guide

Thor Companies, Copeland Art and Training Center 1256 Penn Ave. N #402A, Minneapolis, MN, 763-571-2580, thor.build. Hours during conference week: Tue–Sat 10am–7pm (Fri until 9pm). Reception: Fri, Mar 29, 5–9pm. Exhibitions on view Mar 26–30. Viewers of the Made A surface-rich show of three artists rooted in Afro–religious traditions and celebrating the exchanges between cultures, communities, and artists in a conflicted age of globalisation. Phoenix Savage, Adam Posnak, and Anthony Stellaccio. Organized by Anthony Stellaccio.

Human Nature Artists of color from the Artists of Color in Ceramics (AoCC) come together to present pieces influenced by the human form. Corrin Grooms, Isaac Scott, James Bester, Jasmine Baetz, Maya Vivas, Michelle Ettrick, Natalia Arbelaez, Nikki Lau, and Raven Halfmoon. Organized by Isaac Scott. Truckstop Gallery 20 Grove St., #72 (Nicollet Island), Minneapolis, MN, truckstop.gallery Hours during conference week: Wed 10am–5pm, Thu–Fri 12–9:30pm. Reception: Fri, Mar 29, 5–9pm. On view Mar 27–29. This land like a mirror turns you inward Janet Macpherson and Magdolene Dykstra’s collaborative installation investigates a dystopian landscape where plant and animal life have been mutated to the brink of sustainability. Organized by Magdolene Dykstra.

Veronique Wantz Gallery 901 N Fifth St., Minneapolis, MN, 612-254-2838, veroniquewantz.com Hours during conference week: Tue 11am– 6pm, Wed–Thu 11am–7pm, Fri 11am–9pm, Sat 11am–5pm. Reception: Fri, Mar 29, 5–9pm. On view Mar 26–30. You Am I Step into this colorful utopia where race, gender, sexuality, age, abilities, and belief systems dance to a rhythmic beat of respect and understanding. You am I, I am you, we are one. Adam Chau, Blanca Guerra-Echeverria, Crystal Morey, John Byrd, Kensuke Yamada, Linda Swanson, Malcom Mobutu Smith, Natalia Arbelaez, Raheleh Filsoofi, and Steven Young Lee. Curated by Louisa Vincent, Samuel Johnson, and Juliane Shibata.

Water Bar & Public Studio 2518 Central Ave. NE, Minneapolis, MN, 612-839-0810, water-bar.org Hours during conference week: Mon–Sat 10am–5pm (Fri until 9pm). Reception: Fri, Mar 29, 5–9pm. On view Mar 25–30.

H2O Artists explore the inter-relationship of water and life, drawing inspiration from drinking vessels, water habitats, diminishment of clear water, and disappearing polar caps. Linda Cordell, Bruce Gholson, Samantha Henneke, Paul McMullan, Lynn Richardson, Hide Sadohara, and Matthew Towers. Organized by Paul McMullan.

WORKSHOP 1300 Quincy St. NE, Minneapolis, MN, 503-891-3505, workshop.com Hours during conference week: Tue–Sun 12-5pm. Reception: Fri, Mar 29, 5–9pm. On view Mar 26–31. A Delicate Nature Antler Gallery (Portland) curated showcase of representational sculptors within the New Contemporary movement, exploring the complex relationship between humanity and the natural world. Crystal Morey, Erika Sanada, Calvin Ma, Lorien Stern, Alessandro Gallo, Ariel Bowman, Kate MacDowell, Jennifer Parks and Sarah Louise Davey, and Malia Landis. Curated by Antler Gallery.

SOUTH MINNEAPOLIS American Swedish Institute 2600 Park Ave., Minneapolis, MN, 612-8714907, asimn.org Hours during conference week: Tue–Sat 10am–5pm (Wed until 8pm, Thu until 9pm), Sun 12–5pm. On view Mar 23–May 5.

Response How is the clay community responding to what’s undisputedly becoming one of the most important social and environmental issues of our lifetime - climate change? Minnesota clay artists explore this pervasive question, featuring new and original work created for this installation. Lisa Truax, Kip O’Krongly, Ursula Hargens, and Ani Kasten. Curated by Curt Pederson.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Augsburg University 2211 Riverside Ave. S., Minneapolis, MN, 612-330-1524, augsburg.edu/galleries Hours during conference week: Mon–Fri 9am–7pm, Sat 9am–5pm. Reception: Thu, Mar 28, 5–9pm. Exhibitions on view Mar 1–30. Christensen Center Gallery Northern Blends: The Artfulness of Coffee and Tea in the Canadian Midwest This exhibition features a group of Canadian artists whose work borders craft and design, each offering an interpretation of the role of coffee and tea in our day-to-day lives. Grace Han, Terry Hildebrand, Sam Knopp, Sean Kunz, Noriko Masuda, Mynthia McDaniel, and Juliana Rempel. Organized by Noriko Masuda. Gage Gallery

Jim Shrosbree: slo/roll Shrosbree’s recent series of idiosyncratic ceramic and mixed media sculptures and works on paper continue his ongoing investigation and use of abstraction to permeate humanistic experience. Curated by Paul Kotula.

Dock 6 Pottery 4206 East 34th St., Minneapolis, MN, 612-327-0429, dock6pottery.com Hours during conference week: Tue– Thu 11am–9pm, Fri 11am–6pm, Sat 10am–6pm, Sun 10am–4pm. Reception: Thu, Mar 28, 5–9pm. On view Mar 26–31. Legacy Ware: Dining with Dock 6 A dinnerware exhibition by the Dock 6 Pottery extended family of current and past employees, artists in their own right who’ve been influenced by working for owner Kerry Brooks. Kerry Brooks, Maia Homstad, Jennica Kruse, Ryan Ball, Marie Brown, Ellie Bryan, and Johnne McMahan. Organized by Maia Homstad. Dunn Brothers Coffee 5008 Xerxes Ave. S, Minneapolis, MN, 612-926-8523, dunnbrothers.com Hours during conference week: Tue–Fri 6am–7:30pm (Thu until 9pm), Sat 6:30am– 7:30pm. Reception: Thu, Mar 28, 5–9pm. On view Mar 26–Mar 30. Sip! Gallery 360 presents Sip!, an exhibit of handmade ceramic mugs at our local Dunn Brothers Coffee house. Receive a free cup of coffee with each mug purchased. Elizabeth Pechacek,

EXHIBITION GUIDE

Freewheel Midtown Bike Center 2834 10th Ave. S, Minneapolis, MN, 612238-4447, freewheelbike.com Hours during conference week: Tue–Fri 8am–7pm (Thu until 9pm), Sat 9am–5pm. Reception: Thu, Mar 28, 5–9pm. On view Mar 26–30.

Wheel 2 Wheel Situated near the Greenway, Minneapolis’s bike superhighway, this exhibition blends two prominent Twin Cities communities: cycling and clay. Kate Fisher, Dara Hartman, Bryan Hopkins, Ron Gallas, Melissa Mencini, Helen Otterson, Stacy Snyder, and Tara Wilson. Organized by Kate Fisher.

Gallery 360 3011 W 50th St., Minneapolis, MN, 612-925-2400, gallery360mpls.com Hours during conference week: Mon–Wed 10am– 6pm, Thu 10am–9pm, Fri–Sat 10am–6pm. Reception: Thu, Mar 28, 5–9pm. Exhibitions on view Mar 23–May 12. Closer to Fine Todd Hayes and Maia Leppo will exhibit the result of a collaborative jewelry project, examining the possibilities of work created in response to a focus on materials and design. Organized by Maia Leppo.

Nucleus Gallery 360 explores the heartbeat of our Minneapolis art scene through a core group of local contemporary ceramic artists. Jamie Lang, Brittany Trushin, and Elizabeth Pechacek. Curated by Merry Beck. Highpoint Center for Printmaking 912 W Lake St., Minneapolis, MN, 612-871-1326, highpointprintmaking.org Hours during conference week: Mon–Fri 9am–5pm (Thu until 9pm), Sat–Sun 12– 4pm. Reception: Thu, Mar 28, 6:30–9pm. On view Mar 1–31.

Crossing Dimensions: Heather Delisle, Edward Eberle, Ron Meyers, JJ Peet, and Patti Warashina Works on paper and in clay showing the range of expression possible when the visual language of line, form, and color is applied to two- and threedimensional surfaces and shapes. Curated by Emily Galusha.

Khazana 2225 Lyndale Ave. S, Minneapolis, MN, 612-339-4565, khazana.com Hours during conference week: Tue–Sat 11am–6pm (Thu until 9pm). Reception: Thu, Mar 28, 5–9pm. On view Mar 24–31. Not wheelchair accessible. Jewels of Earth and Fire Presents 16 artists who make ceramic jewelry. Exploring different formal, conceptual and political themes, a sincerity of intent unifies the work. Sharif Bey, Jen Allen, Mérida Anderson, Violaine Ulmer, CJ Jilek, Zara Collins, Cydney Ross, Sidika Sibel Sevim, Shu-Lin Wu, Katja Prins, and others. Organized by Melanie Shaw.

artists over three decades, firing one kiln. Mary-Lydia Andersen, Randal Anderson, Jennifer Brandel, Alan D’Souza, Mark Johnson, Lloyd Lentz, Darah Lundberg, Angie Pitzer, Careen Stoll, and Fred Yerich. Curated by Kathy Yerich.

Program—Friday Exhibition Exhibitions Guide

New Beford Tour

Autumn Higgins, Amanda Dobbratz, Paul Eshelman, Julie Hirschfeld, Louisa Podlich, and many more. Curated by Merry Beck. Not wheelchair accessible.

Northern Clay Center 2424 Franklin Ave. E, Minneapolis, MN, 612-339-8007, northernclaycenter.org Hours during conference week: Mon–Sat 10am–6pm (Thu until 9pm), Sun 12–4pm. Reception: Thu, Mar 28, 5–9pm.

Minneapolis College of Art and Design 2501 Stevens Ave. S., Minneapolis, MN, 612-874-3803, mcad.edu/exhibitions Hours during conference week: Mon–Fri 9am–8pm (Thu until 9pm), Sat 9am–5pm, Sun 12–5pm. Reception: Thu, Mar 28, 5–9pm. On view Mar 25–Apr 21.

Artists of NCC This exhibition celebrates the talent of NCC’s numerous studio artists who employ our studios and facilities to develop their work and exchange ideas with their peers. Beth Thompson, Douglas Vukson-Van Beek, Kate Maury, Elizabeth Coleman, Marta Matray, Alex Chinn, Phil Smith, Kate Smith, Maia Homstad, and 35+ more. Organized by Kyle Rudy-Kohlhepp. On view Mar 25–31.

Minneapolis Institute of Art 2400 Third Ave. S., Minneapolis, MN, 888-642-2787, artsmia.org Hours during conference week: Tue–Wed 10am–5pm, Thu–Fri 10am–9pm, Sat 10am–5pm. On view Mar 26–30.

In Service: Engaging and Connecting through Clay This exhibition features artists whose work and social engagement initiatives generate dialogue about (or focused on) local, national, and international platforms, through ceramics and the process of making. Ayumi Horie, The Democratic Cup: Land of 10,000 Stories, Northern Clay Center, Potters for Peace, Warren MacKenzie, Powderhorn Empty Bowls, and Jeff Schmuki. Curated by Ursula Hargens. On view Mar 8–Apr 28.

Fabricating the Real Edith Garcia’s site-specific installation Fabricating the Real explores ideas of transience through sculptural ice, slip cast objects, unfired porcelain, and engraved drawings. Curated by Melanie Pankau.

Living Clay-Artists Respond to Nature Features recent works by Japanese clay artists responding to nature, alongside works in other media by Kusama Yayoi, Yoshida Ayomi, and Sudo Reiko, among others. Nakaigawa Yuki, Mori Aya, Koike Shoko, Katsumata Chieko, Futamura Yoshimi, Hattori Makiko, Kitamura Junko, Inaba Chikako, Fujikasa Satoko, and Tokumura Kyoko. Curated by Aaron Rio.

Modus Locus 3500 Bloomington Ave. S., Minneapolis, MN, 612-382-9477, moduslocusmpls.com Hours during conference week:Wed–Fri 10am–9pm, Sat 10am–6pm, Sun 12–5pm Reception: Fri, Mar 29, 5–9pm. On view Mar 27–31. UFO’s Land Here An exhibition that examines place as connector of both people and aesthetics through the work of 11

Staff Infection This exhibition pays homage to the individuals who have helped to make NCC a Claytopia and includes current work from staff who have served NCC in the year leading up to NCECA 2019. Heather Barr, Casey Beck, Alison Beech, Amanda Dobbratz, Jill Foote-Hutton, Kyle Rudy-Kohlhepp, Rob Lieder, Andrew Rivera, Emily Romens, and Audra Smith. Organized by Rob Lieder and Emily Romens. On view Mar 25–31. Trading Post: Exchange and Sojourn Five artists share their history and studio practice through written correspondence, resulting in a visual experience that shares insights from their discussion of value, preservation of experience, and response to the material. Monica Bock, Undine Brod, Chotsani Elaine Dean, Dawn Holder, and Jill Foote-Hutton. Organized by Chotsani Elaine Dean. On view Mar 8–Apr 28.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

EXHIBITION GUIDE

NCECA Exhibition Membership Guide

Under the Black and Baltic Deep This exhibition highlights dramatic new efforts in ceramics of nine contemporary makers from across Latvia, Lithuania, and Estonia, who represent the full spectrum of making, age, and education. From Estonia: Kris Lemsalu, Leo Rohlin, and Anne Türn; from Latvia: Diana Boitmane, Dainis Pundurs, and Juta Rindina; and from Lithuania: Ieva BertašiūtėGrosbaha, Danutė Jazgevičiūtė, and Egidijus Radvenskas. Curated by Sarah Millfelt and Robert Silberman. On view Mar 25-31. Norway House 913 E Franklin Ave., Minneapolis, MN, 612-871-2211, norwayhouse.org Hours during conference week: Mon–Sat 10am–5pm (Thu until 9pm). Reception: Thu, Mar 28, 6–8pm. On view Mar 25–30.

Inter-Connected 20 artists whose work makes use of components, whether thematically related or unrelated, to make a larger statement about containers and containment. Eric Hoefer, Jeff Wyman, Jan McKeachie Johnston, Alleghany Meadows, Diane Lublinski, Mathew Isaacson, Dan Anderson, Susan Beiner, Steve Hilton, Syd Carpenter, and 10 others. Curated by James Ibur.

Silverhouse Studio 2519 27th Ave. S, Minneapolis, MN, 310-283-5691, silverhousestudio.com Hours during conference week: Tue 11am–7pm, Wed 10am–7pm, Thu 10am– 9pm, Fri 10am–9pm, Sat 10am–4pm. Reception: Thu, Mar 28, 5–9pm. On view Mar 26–30.

POT SPOT: St Croix Valley Pottery Tour 2019 This exhibition embraces the living art of pottery and presents all 54 potters to be included in the 2019 Minnesota Potters of the St Croix River Valley Tour. It features work of the present and past host potters: Warren MacKenzie, Jeff Oestreich, Ani Kasten, Matthew Krousey, Robert Briscoe, Linda Christianson, Richard Vincent, Janel Jacobson, Will Swanson, Connee Mayeron, Guillermo Cuellar, and Richard Abnet. Organized by Linda Christianson.

Soo Visual Arts Center of forms that utopia takes. Andrew Leo Stansbury, Caitlin Mary Margarett, 2909 Bryant Ave. S #101, Minneapolis, MN, Habiba El-Sayed, Katie Doyle, Marval 612-871-2263, soovac.org Hours during A Rex, and Maya Vivas. Organized conference week: Mon–Tue 11am–5pm, Wed by Marval A Rex. Performance and 10am–6pm, Thu 11am–9pm, Fri 11am–7pm, reception: Fri, Mar 29, 6–10pm. Sat–Sun 11am–4pm. Reception: Thu, Mar 28, 5–9pm. On view Mar 25–-Apr 20. SugarSugar 2019 NCECA Juried 3803 Grand Ave. S, Minneapolis, MN, Student Exhibition 612-823-0261, SugarSugar-candy.com Artists Steven Young Lee and Linda Hours during conference week: Tue–Sat Lopez selected works featuring 11am–6pm (Thu until 9pm), Sun 11am– clay as their primary medium of 3pm Reception: Thu, Mar 28, 5–9pm. expression submitted in response On view Mar 26–31. to NCECA’s call to undergraduate, graduate, and post-baccalaureate candidates studying in programs in the U.S., Canada, and Mexico. Molly Allen, Brooke Armstrong, Chase Barney, Ray Brown, Christy Chor, Charles Cook, Brandi Cooper, John Domenico, Katriona Drijber, Jen Dwyer, Jonathan Green, Alexa Harding, Donte Hayes, Ashton Keen, Yeonsoo Kim, Lucas Knowles, Teresa Larrabee, Jennifer Masley, Will McComb, Kelly McLaughlin, Bethany Panhorst, Clarissa Pezone, Amelia Rosenberg, Jessica Sanders, Joshua Scott, Chanakarn Semachai, Lilah Shepherd, Iren Tete, Samantha Tsang, Anna Marie Valenti, Nicole Winning, and Amy Young.

Squirrel Haus Arts 3450 Snelling Ave. S, Minneapolis, MN, 612-669-8712, squirrelhausarts.com Hours during conference week: Tue 12–5pm, Wed 10am–6pm, Thu 12–9pm, Fri 12–10pm, Sat 12–5pm. Reception: Thu, Mar 28, 5–9pm. Exhibitions on view Mar 24–30. Iowa’s Educators: Artists as Makers Features the artwork of 10 current and past teachers from Iowa’s universities, colleges, art centers and community colleges. John Beckelman, Susannah Biondo-Gemmell, Doug Hanson, Rick Hintze, Ellen Kleckner, Ingrid Lilligren, Jennifer Rogers, JoAnn Schnabel, Jim Shrosbree, and Elissa Cox Wenthe. Organized by JoAnn Schnabel. Matter at Hand An exploration of nature, gender, and time that incorporates fiber to affirm the material and historical sensitivity those with ceramic training bring to other media. Katie Coughlin, Allison Rose Craver, and Kate Roberts. Organized by Kate Roberts. WET: Performing UtopiaZ WET: six clay+performance artists who labor and destroy for their own utopias. In this performance suite, the artists will showcase the multiplicity

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Clay + Candy / Fun + Functional = Utopia Marion Angelica and John Morse are working to put the fun back in functional. Sweet candy serving dishes and cups overflowing with chocolate-y goodness find a home in the retro environs of SugarSugar, a classic candy shop in south Minneapolis.

Textile Center 3000 University Ave. SE, Minneapolis, MN, 612-436-0464, textilecentermn.org Hours during conference week: Mon–Thu 10am–7pm (Thu until 9pm); Fri–Sat 10am– 5pm. Reception: Thu, Mar 28, 5–9pm. On view Mar 18–May 11.

Structured Textile Center brings together a complement of textile and ceramic artists in Structured, an exhibition focusing on textile processes as a starting point for conceptual departure. Shae Bishop, Jeremy Brooks, Allison Rose Craver, Jesse Herrod, Janice Jakielski, Joanna Poag, Phyllis Kudder Sullivan, Joy Ude, Casey Whittier, Rena Wood, and others. Curated by Tracy Krumm.

The Museum of Russian Art 5500 Stevens Ave. S, Minneapolis, MN, 612-821-9045, tmora.org Hours during conference week: Mon–Fri 10am–5pm, Sat 10am–4pm, Sun 1–5pm. On view Feb 9–Jun 9. Free admission with NCECA Conference Badge.

Surreal Promenade: Ceramic Art of Sergei Isupov The Museum of Russian Art presents recent work from ceramic artist Sergei Isupov, in a narrative installation using ceramic sculpture and site-specific painting. Curated by Masha Zavialova.

Boston Tour/ Shuttle Tours

The White Page 3400 Cedar Ave. N, Minneapolis, MN, 203-592-6642, the-white-page.org Hours during conference week: Wed 10am–5pm, Thu 10am–9pm, Fri–Sat 10am–5pm, Sun 10am–2pm Reception: Thu, Mar 28, 5–9pm. On view Mar 27–31.

Little Red Quartet Stephanie DeArmond, Erin Paradis, Jasmine Peck, and Ginny Sims reimagine the gallery space as an area of investigation of how ceramic objects and ideas can collaborate and interact.

The Workshop Minneapolis 5004 34th Ave. S, Minneapolis, MN, 612-729-2401, theworkshopmpls.com Hours during conference week: Mon–Fri 12–6pm (Thu until 8pm), Sat 10am–4pm. Reception: Thu, Mar 28, 6–8pm. On view Mar 25-30.

artists: Nicole Cherubini, Alexandra Engelfriet, Jessica Jackson Hutchins, Brie Ruais, and Anders Ruhwald. Juried artists: Nolan Baumgartner, Dylan Beck, Zimra Beiner, Brian Boldon, Jennifer Brandel, Renata Cassiano, Yang Chen, Benjamin Cirgin, Joshua R. Clark, Naomi Cohn, Chotsani Elaine Dean, Louise Deroualle, Yewen Dong, Jessica Dupuis, Trey Duvall, Matthew Eames, Jessika Edgar, Cary Esser, Sarah Gross, Justin Groth, Jeffrey Haddorff, Sajeda Issa, Wansoo Kim, Adam Knoche, Drew Liedtke, Lauren Mayer, Kate Metten, Brian Molanphy, Michiko Murakami, Rebecca Murtaugh, Kelsie Rudolph, Karl Schwiesow, Nicole Seisler, Jim Shrosbree, and Jason Lee Starin. Curated by Elizabeth Carpenter.

University of Minnesota 405 21st Ave. S, Minneapolis, MN, 612-270-3997, cla.umn.edu/art Flesh for Fantasy: Hours during conference week: Tue The Figure Reimagined 11am–7pm, Wed 10am–5pm, Thu Showcases a cross–section of figurative 11am–9pm, Fri–Sat 11am–7pm. artists who combine fantasy with Reception: Thu, Mar 28, 5–9pm. concern for social and cultural issues. Exhibitions on view Mar 5–30. Natalia Arbelaez, Salvador JiménezFlores, Rob Kolhouse, Kimberly Regis Center for Art (East): LaVonne, Keira Norton, Paolo Porelli, Quarter Gallery and anne drew potter. Organized by Keira Norton and Kimberly LaVonne. Department of Art Sculpture and Ceramics Area Faculty and Graduate University of Minnesota, Regis Center for Student Exhibition Work by Chris Larson, Tom Lane, Art (East), Katherine E. Nash Gallery Tetsuya Yamada, Tamsie Ringler, 405 21st Ave. S, Minneapolis, MN, 612-625Pedram Baldari, Katayoun Amjadi, 8096, cla.umn.edu/art/galleries/katherineLauren Flynn, Grant McFarland, e-nash-gallery • Artist Panel Discussion Emily Swanberg, Erika Terwilliger, Friday, March 29, 2019 from 12:15–1:15pm Rich Tibbot, and Anna VanVoorish. Curator Elizabeth Carpenter in conversation Organized by Tom Lane and with invited artists in the exhibition The Tetsuya Yamada. Form Will Find Its Way: Contemporary Ceramic Sculptural Abstraction. Regis Regis Center for Art (West): Center for Art, University of Minnesota. Regis West Gallery Hours during conference week: Mon–Sun Department of Art Ceramics Lecturers 11am–7pm (Wed open at 10am; Thu until Exhibition: Object Lessons 9pm). Reception: Thu, Mar 28, 5–9pm. On Work by current Ceramics Lecturers view Jan 22–Mar 30. Allison Rose Craver, Nicolas Darcourt, Stephanie DeArmond, Anna V Metcalfe, 2019 NCECA Annual Exhibition Candice Methe, Erin Paradis, Ginny The Form Will Find Its Way: Sims, Mic Stowell, and Priya Thoresen. Contemporary Ceramic Curated by Tom Lane and Tetsuya Yamada. Sculptural Abstraction Including works by 40 emerging and University of Minnesota, The Architecture established artists of national and and Landscape Architecture Library international stature, this expansive exhibition is selected and organized by Rapson Hall, 89 Church St. SE, East guest curator Elizabeth Carpenter. Five bank of the University of Minnesota leading artists in the field are joined Twin Cities Campus, Minneapolis, MN, by 35 juried artists to display powerful 612-624-1638, lib.umn.edu/architecture works that embody clay’s capacities as Hours during conference week: a medium of material risk while also Tue–Thu 9am–9pm, Fri 9am–6pm, expanding upon the interdisciplinary, Sat–Sun 1–5pm. Reception: sculptural experimentation happening Thu, Mar 28, 5–7pm. in the contemporary art world. Invited

Two Sites with a Similar Problem Modernist architectural models, articulated by ceramic elements, embroiled in an archaeological/ catastrophic narrative. Neil Forrest and John Roloff. Organized by John Roloff. On view Mar 26–May 6.

Alternate Endings 2: Contemporary Ceramic Bookends Brings together diverse artists who have each created a set of ceramic bookends, presented in two public library settings—the Architecture and Landscape Architecture Library and the Wilson Library, both of which reside at the University of Minnesota. Matt Nolen, Malcolm Mobutu Smith, Mark Burns, Dustin Yager, Brian Harper, Ron Geibel, Virginia Scotchie, Susan Beiner, Courtney M. Leonard, and April Felipe. Curated by Bryan Hopkins; supported by Northern Clay Center. On view Mar 25–30. University of Minnesota, Wilson Library 4th Fl., 309 19th Ave. S, Minneapolis, MN, 612-624-3321, lib.umn.edu/wilson Hours during conference week: Mon–Sat 9am–9pm. Reception: Thu, Mar 28, 5–7pm. On view Jan 22–Apr 14.

Geologic Shift Brings together nine artists working in diverse sculptural forms who exploit the materiality and unpredictable nature of working in clay. Peter Christian Johnson, Shane Lutzk, Shannon Goff, Heather Couch, Shiyuan Xu, Wen-Dan Lin, Chad Gunderson, Jonathan Mess, and Priya Thoresen. Organized by Priya Thoresen. Alternate Endings 2: Contemporary Ceramic Bookends Brings together diverse artists who have each created a set of ceramic bookends, presented in two public library settings—the Architecture and Landscape Architecture Library and the Wilson Library, both of which reside at the University of Minnesota. Matt Nolen, Malcolm Mobutu Smith, Mark Burns, Dustin Yager, Brian Harper, Ron Geibel, Virginia Scotchie, Susan Beiner, Courtney M. Leonard, and April Felipe. Curated by Bryan Hopkins; supported by Northern Clay Center. On view Mar 25–30.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Exhibition Guide

EXHIBITION GUIDE

NCECA Exhibition Membership Guide

Urban Forage Winery and Cider House 3016 E Lake St., Minneapolis, MN, 612584-4398, urbanforagewinery.com Hours during conference week: Tue–Sat 4–11pm (Wed 10am–11pm). Reception: Thu, Mar 28, 5–9pm. Ceramics Trivia at 7pm! On view Mar 26–30.

You’ve Been Served; Cup show 2019 Clay Arts Vegas, University of North Dakota, and Urban Forage Cider House explore the cup. Juried and invited artists’ cups will rotate nightly for purchase and use at a socially aware local business. Nolan Baumgartner, Thomas Bumblauskas, Leilani Trinka, Shana Salaff, Wesley Smith, Tim Carlburg, Allee Etheridge, Kari Woolsey, Nikki Serra, Nathan Bray, and others. Organized by Peter Jakubowski, Wes Smith, and Thomas Bumblaukas.

Vine Arts Center Gallery Ivy Arts Building, 2637 27th Ave. S, Minneapolis, MN, 612-728-5745, vinearvineartscenter.org. Hours during conference week: Tue–Wed 10am–6pm, Thu 10am–9pm, Fri 10am–6pm, Sat 10am–5pm. Reception: Thu, Mar 28, 6–9pm. On view Mar 26–30. Ideal Made Real: MN NICE An exhibition of Alumni and Affiliate Artists of the MN NICE program, Northern Clay Center’s ceramic certificate program that provides rigorous, personalized instruction. Linda Christianson, Joel Froehle, Ursula Hargens, Mike Helke, Kate Maury, Emily Murphy, S.C. Rolf, Denise Rouleau, and Todd Shanafelt. Organized by Ursula Hargens.

Weisman Art Museum 333 East River Rd., Minneapolis, MN, 612625-9494, wam.umn.edu Women in Minnesota Mingei, gallery talk with Rebecca Sive and clay artists, 9-10am, Wednesday, March 27th. Hours during conference week: Tue 10am–5pm, Wed 10am–8pm, Thu–Fri 10am–5pm (Thu until 9pm), Sat–Sun 11am–5pm. Reception: Thu, Mar 28, 5–9pm. On view ongoing.

The Persistence of Mingei: Influence Through Four Generations of Ceramic Artists This exhibition will explore the roots of Mingei, how it has influenced generations of ceramic artists, and how their ideas have changed as they have developed as artists. Mark Pharis, Linda Christianson, Jan McKeachie Johnston, Warren and Alix MacKenzie, Randy Johnston, Maren Kloppmann, Shoji Hamada, and others. Curated by Lyndel King.

9-10am, Weds. March 27, 2019

SHE, HER, HERSELF - four generations of women and the Mingei Influence- A special gathering at the Weismann Museum, in honor of their show, The Persistence of Mingei: Influence through Four Generations of Ceramic Artists. An informal conversation led by Rebecca Sive among the women potters in the exhibition about their ceramic practice, their relationship to the Mingei influence, and the role gender has played over four generations.

ST. PAUL LOWERTOWN/DOWNTOWN Creators Space 218 7th St. E, Ste. 100, St. Paul, MN, 651-340-6736, creatorsspace.com Hours during conference week: Wed–Thu 7am–7pm, Fri–Sat 7am–10pm. Reception: Fri, Mar 29, 5–9pm. Exhibitions on view Mar 27–29.

River as its western border. Looking West investigates the history, anthropologies, and landscapes of the American West through ceramic art. Paige Nicolet Ward, Evan Hauser, Jonathan Fitz, Dean Leeper, Jason Walker, Ben Jordan, Crystal Morey, Mitch Iburg, Dylan Beck, Catherine Schmid-Maybach, and others. Organized by Evan Hauser and Paige Nicolet Ward. Landmark Center, North Gallery 75 W 5th St., St. Paul, MN, 651292-1239, landmarkcenter.org Hours during conference week: Mon–Wed, 10am–5pm, Thu 10am–8pm, Fri–Sat 10am– 5pm (Fri until 9pm), Sun 12–5pm. Reception: Thu, Mar 28, 5–7pm. On view Mar 25–31. Ray Chen, Ceramic Sculptor Ray Chen exhibits his most recent work from his Mother and Child Series. Chen completed this work while he was the Virginia A. Groot Sculptor-in-Residence at Gustavus College. Ray Chen and Kristen Lowe.

Landmark Center, AAW Gallery of Wood Art 2018 Archie Bray Resident 75 5th St. W, Ste. 226, St. Paul, MN, 651Artists Exhibition 484-9094, galleryofwoodart.org woodturner. Includes both long- and short-term org • Hours during conference week: resident artists who have worked at the Bray in the past 12 months. Jessica Mon–Wed 9am–7pm, Thu–Fri 9am–9pm, Sat 10am–5pm, Sun 12–5pm. Reception: Brandl, Kelly Stevenson, Ben Carter, Fri, Mar 29, 5–9pm. On view Mar 3–Jun 23. Kelsey Duncan, Christina Erives, Stuart Gair, Richard W. James, Kyle Traces Johns, Iva Milovanovic, Yoonjee Small–scale works in wood or clay Kwak, and others. Organized by reveal traces, whether left by hands Maura Wright. or tools, hidden in the very nature of material, or in implied revelations of 5 Years: Studio 740 Resident Exhibition history. Mark Goudy, Liza Riddle, This exhibition is a representation of Kris Marubayashi, Patrick Kingshill, the works that were made over the Andrea Leila Denecke, Andy Balmer, past five years by the resident artists Greg White, Ginny Sims, Janel of Studio 740 in Helena, Montana. Jacobson, and others. Beth Cavener, Alessandro Gallo, Noah Riedel, Giselle Hicks, Jamie Minnesota Museum of American Art Bates Slone, Chris Riccardo, Hannah 350 Robert St. N, St. Paul, Lee Cameron, Kelsey Duncan, Jeff MN, 651-797-2571, mmaa.org Campana, Brooks Oliver, Shelsea Hours during conference week: Wed 11am– Dodd, and Iva Milovanovic. 5pm, Thu 11am–8pm, Fri–Sun 11am–5pm Organized by Jamie Bates Slone. (Fri until 6:30pm). On view Mar 7–May 12. James J Hill House The Good Making of Good Things: 240 Summit Ave., St. Paul, MN, Craft Horizons Magazine 1941–1979 651-297-2555, mnhs.org/hillhouse Features artworks from the Minnesota Museum of American Art’s collection Hours during conference week: Wed–Sat and illuminates the essential role 10am–4pm Reception: Fri, Mar 29, 6–8pm. Craft Horizons magazine played in On view Mar 6–Apr 7. $10 addmission fee; the development of the American Wed–Fri 11am–2pm free to NCECA craft movement. Anni Albers, Warren badge-holders. MacKenzie, Herbert Bayer, Arline Looking West Fisch, Stanley Lechtzin, Win Ng, Early America saw the Mississippi Gertrud and Otto Natzler, June Schwarcz, Peter Voulkos, and many

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

more. Organized by the Minnesota Museum of American Art and the American Craft Council. The Grand Hand Gallery 619 Grand Ave., St. Paul, MN, 651-3121122, thegrandhand.com Hours during conference week: Tue–Wed 10am–5pm, Thu 10am–6pm, Fri–Sat 10am–5pm (Fri until 9pm). Reception: Fri, Mar 29, 5–9pm. Exhibitions on view Mar 8–30.

The Backyard Potters Features work from five local potters. These artists exemplify the talent, culture, and legacy of pottery in the Midwest. Peter Jadoonath, Mike Helke, Joe Singewald, Ani Kasten, and Sarah Dudgeon. Curated by Linda LaNasa. Solo Show: Joanna Buyert Curated by Linda LaNasa.

The Show Gallery Lowertown 346 N Sibley St., St. Paul, MN, 651419-8022, theshowgallerylowertown.org Hours during conference week: Wed–Fri 11am–6pm (Fri until 9pm), Sat– Sun 11pm–3pm. Reception: Fri, Mar 29, 6–8pm. On view Feb 28–Mar 31.

Portraits of a Place: Artists of MSS This socially engaged project shows multi-part portraits developed through a call and response process. The portraits represent a local community of artists with disabilities. Lauren Duffy and MSS Artists. Organized by Lauren Hughes and Lauren Duffy.

The Transformation Gallery Creative Arts Secondary School, 65 E Kellogg Blvd., St. Paul, MN, 651-292-3480, spps.org/creativearts Hours during conference week: Tue–Fri 9am–7pm (Fri until 9pm), Sat 10am-4pm. Reception: Fri, Mar 29, 5–9pm. Exhibitions on view Mar 26–Apr 26. Intersection: A Coalition of Makers/ Educators in K–12 This exhibition showcases the diversity of makers and educators who work in the K–12 field while promoting awareness of other ways to serve our community through K–12 education. Sara Beth Truman, Brenda Quinn, Kyla Toomey, Autumn Higgins, Shanna Fliegel, Nick Bivins, Thaddeus Erdahl, Bryan Horn, Aaron Sober, and Mike Gesiakowski. Organized by Sara Truman.

Remain an Artist: Mingei–sota Teachers Continue the Lineage This exhibition showcases Minnesota K–12 art educators that teach the Mingei pottery movement with their students and also incorporate Mingei principles in their own studios. Randy Schutt, Kent Miller, Lisa Buck, Tricia Schmidt, Sarah Hjelmberg, Angela Heida, Chad Jerzak, and Lucas K. Anderson. Organized by Randy Schutt.

MIDWAY DISTRICT Caufield Clay Works 2242 University Ave. W, St. Paul, MN, 651-300-6459, caufieldclay.com Hours during conference week: Mon–Sun 10am–6pm. Reception: Fri, Mar 28, 5–9pm. On view Mar 20–Apr 6. Not wheelchair accessible.

Past & Present: University of Stout Ceramics Alumni, faculty, and current students of the University of Wisconsin-Stout present a survey of established and emerging ceramic artists exploring ideas of mentorship and lineage. Amanda Dobbratz, Gabby Gawreluk, Ryan Greenheck, Adam Gruetzmacher, Dane Hodges, Sean Larson, Kate Maury, Chad Steve, Geoffrey Wheeler, and more. Organized by Chad Steve and Amanda Dobbratz.

Concordia University, St. Paul, Buetow Gallery 300 Hamline Ave., St. Paul, MN, 651-641-8278, csp.edu/buetow-music-center Hours during conference week: Mon–Sun, 8am–8pm (Thu and Fri until 9pm). Reception: Fri, Mar 29, 5–9pm. On view Mar 14–Apr 10.

Clay at Concordia: Off the Wall and On It Too The Concordia University community pursues ceramic art ideas in a demanding and nurturing environment. This show features the work of CSP’s Ceramics professors and select students. Keith J. Williams, Priya Thoresen, Korla Luckeroth Molitor, Grant Boulanger, Mary Burwinkel, Emily Irvin, Jake Iten, Bri Ozanne, Wendy Thoreson, and Troy Williams. Organized by Keith J Williams.

Concordia University, St. Paul, Graebner Memorial Chapel 1259 Carroll Ave., St. Paul, MN, 651-641-8278, csp.edu/campuslistings/graebner-memorialchapel • Hours during conference week: Mon– Sun 9am–5pm. On view Mar 1-Apr 5. The Riemer Collection: Traditional Korean Celadons While in Korea, the Reimer family collected many traditionally made Korean vessels. Their preference for the vessels made in the imperial celadon style guided their collecting. The vessels were made by various traditional Korean craftsmen, many whose names were not documented by the Reimer family, or history at large. Curated by Keith J. Williams.

Concordia University, St. Paul, Concordia Art Center 1301 Marshall Ave., St. Paul, MN, 651-641-8278, csp.edu/concordiaart-gallery Hours during conference week: Mon–Sun 10am–7pm (Fri until 9pm). Reception: Fri, Mar 29, 5–9pm. Exhibitions on view Mar 14–Apr 10. H. Williams Teaching Gallery

Return to Concordia Features sculptures by Natasha Dikareva, artist-in-residence at Concordia University 1997–1999. This exhibition merges ancient mythological figures with personal iconographies to push boundaries of the ideal and discover hidden utopic visions. Paintings by Vladimir Dikarev explore a similar landscape of forgotten worlds and future dreams. The father/daughter duo opens a window into a wondrous view.

The Concordia Gallery

Pottery and Place In 1973, Mark Pharis purchased a Minnesota farm, and over the years, provided space for 11 artists to work there. The place organically evolved in as an informal, invited, residency opportunity. Each artist benefited. Mark Pharis, Tim Crane, Linda Sikora, Matt Metz, Andy Brayman, Sanam Emami, Karen Newgard, Autumn Cipala, and Jan Knipe. Curated by Janet Koplos.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Exhibition Guide

EXHIBITION GUIDE

Boston Tour/ Exhibitions Bus New Exhibition Shuttle Route Beford Tours B—South Guide Tour Overview

Interact Center for Visual and Performing Arts 1860 W Minnehaha Ave., St. Paul, MN, 651-209-3575, interactcenter.org Hours during conference week: Mon–Sun 9am– 8pm (Sat until 9pm). Reception: Sat, Mar 30, 5–9pm. On view Mar 20–Apr 20.

Growing Oasis Interact Center is at the forefront of radical inclusion, supporting artists with disabilities who are shaping the future of art and defying conventions. Luke Lyons, Sherry Bartholomew, Sarah Bender, Kramer Hegenbarth, Daniel Metchnek, Rick Joschko, Emmanuelle Quinn, Dean Robert Holmes, and Briana Shelstad. Curated by Stacey Robison.

Kopplin’s Coffee 2038 Marshall Ave., St. Paul, MN, 651-698-0457, kopplinscoffee.com Hours during conference week: Mon–Fri 6am–8pm, Sat–Sun 7am–8pm. On view Feb 15–Mar 31.

The Plate: Image and Object This group of work explores the ceramic plate as a point of intersection of aesthetics and utility. Joel Froehle.

Macalester College, Law Warschaw Gallery 1600 Grand Ave., St. Paul, MN, 651-696-6416, macalester.edu/gallery Hours during conference week: Mon–Wed 10am–4pm, Thu 10am–8pm, Fri 10am–9pm, Sat–Sun 12–5pm. Reception: Fri, Mar 29, 5–9pm. On view Feb 15–Mar 31.

Strange Place Five artists expand on expectations for ceramic practice and together reimagine “place” as simultaneously geographic and fantastic through mythical and abstract ethnographies. Neha Kudchadkar, Jason Lim, Allison Schulnik, Jason Lee Starin, and Eva Vogelsang. Curated by Jehra Patrick and Summer Hills-Bonczyk.

Raymond Avenue Gallery 761 Raymond Ave., St. Paul, MN, 651-6449200, raymondavenuegallery.com Hours during conference week: Mon–Sun 10am– 4pm. Reception: Fri, Mar 29, 5–9pm. On view Feb 16–Apr 20. Mingeisota: Merging Nature and Culture: Two 2018 Minnesota State Arts Board Grant Recipients Lee Love creates tea inspired ware influenced by dialog with local and international Asian communities.

Matthew Krousey’s murals and sculpture are inspired by our native landscapes, flora, and fauna. Curated by Kraig Rasmussen. Saint Paul Academy and Summit School Harry M. Drake Gallery 1712 Randolph Ave., St. Paul, MN, 218290-1082, spa.edu Hours during conference week: Mon–Sun 8am–6pm (Fri until 9pm). Reception: Fri, Mar 29, 5–9pm. On view Mar 25–Apr 26.

OIKOSystem This show investigates the relationship between agriculture and clay, and the ecosystems that connect humans to the land. Anna V Metcalfe, Jeanine Hill, Linda Swanson, Lydia Thompson, Syd Carpenter, Gregg Moore, Holly Hanessian, and Michael Diaz. Organized by Anna V Metcalfe.

SpringBOX 262 University Ave. W, St. Paul, MN, 607-427-0170 Hours during conference week: Wed– Thu 10am–5pm, Fri 10am–9pm, Sat 10am–5pm, Sun 10am–2pm. Reception: Fri, Mar 29, 5–9pm. On view Mar 27–31.

Suggestions for Perplexing Thought This exhibition explores ways sculptural ceramics allows artists to put intangible moments of artfulness into material form. Bailey Arend, Elaine Buss, Gustav Hamilton, Qwist Joseph, Brady McLearen, Erin Paradis, Brittany Trushin, and Joshua Woof. Organized by Erin Paradis and Brittany Trushin.

St. Catherine University 2004 Randolph Ave., St. Paul, MN, 651-690-6644, gallery.stkate.edu Hours during conference week: Mon–Wed 10am–5pm, Thu–Fri 10am–9pm, Sat 10am–5pm.Reception: Fri, Mar 29, 5–9pm. Reception for all exhibitions in the Catherine G. Murphy Gallery in the Visual Arts Building. CDC Student Center

Ceramic Highlights from the St. Catherine University Fine Art Collection: Warren MacKenzie, Nan Bangs McKinnell & James McKinnell This show explores the roles of artist-educators Warren MacKenzie, Nan Bangs McKinnell, and James McKinnell in the contemporary development of clay-making locally, regionally, and nationally. Curated by Rosemarie Grinsell and Emelin Venura. On view Mar 18–30.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

The Catherine G. Murphy Gallery, Visual Arts Building Accumulation: New Work by Monica Rudquist and Judy Onofrio. With an eye toward materiality, largescale installation, and a repetition of forms, artists Judy Onofrio and Monica Rudquist explore the concept and role of accumulation. On view Feb 9–Mar 30.

Visual Arts Building

Women Who Teach Featuring 22 female Minnesota clay artist teachers and their students, whose practices expand the definition of learning to include a variety of methods, venues, and approaches. Linda Christianson, Kelly Connole, Ursula Hargens, Kate Maury, Juliane Shibata, Kimberlee Joy Roth, Jan McKeachie Johnston, Rhonda Willers, Anna V Metcalfe, Colleen Riley, and others. Curated by Monica Rudquist. On view Mar 18–30.

St. Catherine University, Our Lady of Victory Chapel 2004 Randolph Ave., St. Paul, MN, 651-690-6637, gallery.stkate.edu Hours during conference week: Mon–Fri 10am– 5pm. On view Mar 25–29.

Self-Guided Architectural Tour - The Wonder of Batchelder: Clay-inspired History of Our Lady of Victory Chapel at St. Catherine University A tour of Our Lady of Victory Chapel at St. Catherine University offers an up close look at tilemaker Ernest Batchelder’s largest and most extensive commission in existence. For information on guided tours, visit http://gallery.stkate.edu/ exhibitions/nceca-st-kates

EXHIBITION GUIDE

Schmidt Artist Lofts 900 W 7th St., St. Paul, MN, schmidtartistlofts.com Hours during conference week: Tue– Sat 10am–5pm (Fri until 10pm). Reception: Fri, Mar 29, 5–10pm. Exhibitions on view Mar 26–30. Flex Gallery

Over the Divide: Works from the Clay Studio of Missoula Features a diverse collection of both functional and sculptural ceramic works created by current and recent Clay Studio of Missoula artists-inresidence and staff. Andrew Avakian, Chris Drobnock, Donna Flanery, Kirk Jackson, Ben Jordan, Scott McClellan, Jazmine Penelope, Shalene Valenzuela, Christine Gronneberg, Elisha Harteis, and others. Organized by Shalene Valenzuela.

Landmark Gallery

Divergence An exhibition of ceramic and twodimensional artworks, exploring points of convergence and divergence between ceramics and other modes of art making. John Beckelman, Bede Clarke, Gabrielle Graber, Mitch Iburg, Erica Iman, Samuel Johnson, Randy Johnston, Ani Kasten, and Zoë Powell. Organized by Samuel Johnson.

Pig’s Eye Gallery

My Four Truths This exhibition expresses Guillermo Guardia’s political, social, and personal statements with his Four Truths sculptures: Puzzle Pieces, Baby Devils, Immigration, and Memories of Home. Guillermo Guardia. Full Circle: Decay, Dread, and Déjà vu after Wedgwood The constant re-hashing of Enlightenment values are contemplated through fictional artifacts, Wedgwood fakes, and eroded neo–classical pottery. Brad Menninga.

Tap Room Gallery

something, here, gone. A mixed-media, stoneware sculpture installation reflecting upon a darker reality; a hidden awareness about notions of love and loss, drawing on concepts of mythology and spirituality. Tony Angelino.

Tunnel Gallery

Form and Abstraction: A Universal Language New works by five contemporary clay artists from the upper mid-west region who employ abstraction as a vehicle to explore content. Kathryn Agnes Baczeski, Nicolas Darcourt, Gerit Grimm, Tyler Lotz, and Brady McLearen. Organized by Nicolas Darcourt.

MIDWAY/ NORTHERN ST. PAUL University of Minnesota, Goldstein Museum of Design 1985 Buford Ave., 241 McNeal Hall, St. Paul, MN, 612-624-7801, goldstein.design. umn.edu • Hours during conference week: Tue–Fri 10am–5pm, Sat–Sun 1:30–4:30pm. Reception: Thu, Mar 28, 5–9pm. On view Jan 26–May 19.

Ruth Crane: A Ceramic Collector’s Journey This exhibition will trace the development of Ruth Crane’s ceramics collection from production to studio. The exhibition will feature works by Silvie Granatelli, En Iwamura, Jan McKeachie Johnston, Becky and Steve Lloyd, Warren MacKenzie, Paul Revere Pottery/Saturday Evening Girls, Donovan Palmquist, and Jo Severson. Curated by Lin Nelson-Mayson.

Gallery 1639 1639 Larpenteur Ave. W, St. Paul, MN, 651-647-0001, coxins.net Hours during conference week: Mon–Fri 8:30am–7pm (Fri until 9pm), Sat 10am– 3pm. Reception: Fri, Mar 29, 5–9 pm. On view Mar 25–Apr 19.

Variations of Shino Featuring emerging artists and mid-career artists from Minnesota and Wisconsin, this exhibition will showcase the unique regional qualities of Shino. Linda Christianson, Dick Cooter, Guillermo Cuellar, Bill Gossman, Randy Johnston, Jan McKeachie Johnston, Lee Love, Warren MacKenzie, Joe Singewald, and Will Swanson. Curated by Chris Singewald.

SUBURBS & REGIONAL ST. ANTHONY

Exhibition Guide

SOUTH ST. PAUL

Silverwood Gallery Silverwood Park, 2500 County Rd. E, St. Anthony, MN, 763-694-2091, threeriversparks.org/location/silverwood– park • Hours during conference week: Tue–Wed 9am–5pm, Thu–Fri 9am–9pm, Sat 9am–5pm. Reception: Fri, Mar 29, 5–9pm. On view Mar 14–Apr 30. Shifting Reverence Showcases individualized appropriation of Mingei philosophy and tradition through sculptural retranslations. Kait Arndt, Brian Caponi, Jennifer Ling Datchuk, Nick Geankoplis, and Yehrim Lee. Organized by Kait Arndt.

ARDEN HILLS Bethel University – Johnson Gallery 3900 Bethel Dr., Arden Hills, MN, 651-638-6400, bethel.edu Hours during conference week: Mon–Fri 9am–8pm (Thu until 9pm), Sat–Sun 11am–6pm. Reception: Fri, Mar 29, 5–7pm. On view Mar 7–Apr 21.

Spectral Matter A show of ceramic sculptors exploring propaganda, archetype, stereotype, gender, political, spiritual, and sociocultural themes that capture post– #metoo reflections on culture. Bari Ziperstein, Alison Owen, KyoungHwa Oh, Molly Uravitch, Rain Harris, and Eileen Cohen. Curated by Heather Nameth Bren.

MINNETONKA Minnetonka Center for the Arts’ Partners in Art Program at Ridgedale Center 12401 Wayzata Blvd., Minnetonka, MN, 952-473-7361 ext. 170, minnetonkaarts.org Hours during conference week: Mon– Sat 10am–9pm, Sun 11am–6pm. On view Mar 15–Apr 19.

Clay. Here. Now. A curated selection of ceramic art, from functional to sculptural, celebrating the vitality and variety of Minnesota ceramic artists’ work, displayed throughout Ridgedale Center. Brenna Busse, Krissy Catt, Joel Froehle, Chad Jerzak, Ernest Miller, Paul and Denise Morris, Lee Persell, Kathy Mommsen, Beth Thompson, and others. Curated by Robert Bowman.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

EXHIBITION GUIDE BLOOMINGTON

Kansas Exhibitions City and the Exhibition Guide Greater New Overview Beford Region Tour

Artistry Bloomington Center for the Arts, 1800 W Old Shakopee Rd., Bloomington, MN, 952-563-8575, artistrymn.org Hours during conference week: Mon–Fri 8am– 10pm, Sat 9am–5pm. Reception: Thu, Mar 28, 5–9pm. On view Mar 1–30.

Urban Parallel: A Celebration of the History and Legacy of Ceramics in Glasgow, Scotland Celebrates Glasgow’s rich clay history and contemporary practice and honors a shared history between Scotland and Minnesota. Susan O’Byrne, Livia Marin, Jonathan Wade, Dawn Youll, James Rigler, and Andrea Walsh. Organized by Susan O’Byrne.

Minneapolis St Paul International Airport–Terminal 1, Lindberg Food Court, 4300 Glumack Dr., St. Paul, MN, 612-726-5555, msairport.com Hours during conference week: 24 hours. On view February 2019–July 2019.

Duck Duck, Gray Duck Those flying in to attend the 2019 NCECA conference will be greeted by highlights of this great region’s talented pool of ceramic makers. Curated by Northern Clay Center.

Minneapolis St Paul International Airport–Terminal 2, Humphrey Gate H10, 7150 Humphrey Dr., Minneapolis, MN, 612-726-5555, msairport. com Hours during conference week: Open 24 hours. On view Apr 2018–Apr 2019. Minnesota Women Ceramic Artists (MNWCA) at the Minneapolis - St. Paul International Airport Showcases the talents of women artists in Minnesota embracing the wide range of sculptural and functional work of our artists. 46 members of MNWCA are represented in the display case. Curated by MNWCA Board of Directors. On view. Apr 2018–Apr 2019.

Normandale Community College 9700 France Ave. S, Bloomington, MN, 952-358-8200, normandale.edu/community/ fine-arts-gallery • Hours during conference week: Mon–Fri 7am–10pm, Sat 7am–5pm. Reception: Thu, Mar 28, 6–9pm. On view Mar 1–30. Western Wisconsin Pottery Tour – Connecting Public to Art This exhibition shows the unique role

that an associated group of potters play in connecting the public to the ceramic arts through the vehicle of an annual open studio tour. Wayne Branum, Willem Gebben, Randy Johnston, Jan McKeachie Johnston, Mark Pharis, S.C. Rolf, and Zac Spates. Organized by S.C. Rolf. EDINA Edina Art Center 4701 W 64th St., Edina, MN, 952-903-5780, edinaartcenter.com Hours during conference week: Mon–Thu 9am–8pm (Thu until 9pm), Fri 9am–5pm, Sat 9am–4:30pm. Reception: Thu, Mar 28, 5–9pm.

OutsideHers This exhibition explores nature as a catalyst for inspired making and sustained studio practice by four women potters in the St. Croix River Valley. Lisa Buck, Linda Christianson, Jil Franke, and Jan McKeachie Johnston. Organized by Lisa Buck. On view Mar 20–Apr 15. The Natural World in Clay: An Evening Walk Set in a wooded site near a wetland, this exhibit encourages participants to move progressively through both indoor and outdoor spaces to experience works that highlight the interaction of clay and natural elements. Bradley Benn, Siiri Silpala Doan, Danielle Fernandez, Vanessa Greene, and Grace Pass. Curated by Susan Tarnowski. On view Mar 25–30.

HOPKINS Hopkins Center for the Arts 1111 Main St., Hopkins, MN, 952-548-6489, hopkinsartcenter.com Hours during conference week: Wed–Fri 8am–8pm (Thu until 9pm), Sat 10am–8pm, Sun 12–5pm. Reception: Thu, Mar 28, 6–9pm. On view Mar 27–May 11.

The Earth is Broken, the Earth is Whole This exhibition centers on the interplay of hospitality, morality, and justice in contemporary cultural and media landscapes. Forrest Lesch-Middelton, Arash Shirinbab, Pedram Baldari, and Nooshin Hakim Javadi. Organized by Forrest Lesch-Middelton.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Joe Christensen Pottery 10895 Excelsior Blvd., Ste. 203, Hopkins, MN, 952-334-1623 Hours during conference week: Mon–Sat 10am–9pm. Reception: Thu, Mar 28, 5–9pm. Exhibitions on view Mar 26–30.

Form, Surface, Pattern, Repeat Work by two ceramic colleagues, a large-scale potter and a ceramic sculptor. Their work overlaps and influences each other in the areas of pattern and painterly surface. Joe Christensen and Nicolas Darcourt. Organized by Joseph Christensen. Earthy Paradise The contemporary visual celebration of Earthy Paradise is rooted in the epic 19th century poetry of William Morris and his bittersweet longing for perfection. Ursula Hargens and Jennifer Rogers. Curated by Andrea Kann.

WAYZATA Minnetonka Center for the Arts 2240 North Shore Dr., Wayzata, MN, 952- 473-7361, minnetonkaarts.org Hours during conference week: Mon 9am–4pm, Tue 9am–9:30pm, Wed 9am– 4pm, Thu 9am–9:30pm, Fri–Sat 9am–4pm. Reception: Thu, Mar 28, 6–9pm. Exhibitions on view Mar 11–Apr 4. Lost & Found: Reitz + Gustin Collaborations Bridging between solitary and collaborative accomplishments, the exhibition will highlight a selection by each artist, and five of the “Lost Works” posthumous collaborations. Don Reitz and Chris Gustin. Curated by Peter Held.

Warren MacKenzie + John Reeve: Kindred Spirits Highlights two great proponents of the Mingei aesthetic: lifelong friends, Warren MacKenzie, the American studio pottery legend and itinerant beat potter, John Reeve (1929–2012). Curated by LaiSun Keane and Lucy Lacoste, Lacoste Keane Gallery with Guest Curator Nora Vaillant. COON RAPIDS Anoka Ramsey Community College 11200 Mississippi Blvd. NW, Coon Rapids, MN, 763-433-1307, anokaramsy.edu Hours during conference week: Mon–Thu 10am–5pm, Fri 10am–4pm, Sat 10am–2pm. Reception: Fri, Mar 29, 5-7pm. Minnesota Potters: Sharing the Fire Highlights eight Minnesota

EXHIBITION GUIDE

Perpetual Clay Invitational 2019 Celebrates the diversity of guest artists that have presented workshops at Anoka Ramsey Community College. Robert Briscoe, Linda Christianson, Sam Chung, Dick Cooter, Jason Hess, Peter Jadoonath, Tom Jaszczak, Randy Johnston, Jan McKeachie Johnston, Jeff Oestreich, S.C. Rolf, and others. Organized by Mark Lambert. On view Mar 22-30. INVER GROVE HEIGHTS Gallery 120 Inver Hills Community College 2500 E. 80th St.; Fine Arts Building., Inver Grove Heights, MN, 651-450-3101, facebook.com/InverHillsGallery120 • Hours during conference week: Mon–Sat 12–5pm (Wed 10am–5pm). On view Mar 25–Apr 18. Impetus for Departure Places Inver Hills Ceramics alumni’s current work amidst the work of the instructors and staff who provided them with a foundation in ceramics. Chelsea Engen, John Finlay III, Joel Froehle, Margaret Haden, Rhiannon Hadler, Jay Jensen, Wendy Olson, Alex Richter, James Smead, and Rachel Sonenblum. Organized by Rachel Sonenblum.

CHASKA Minnesota Landscape Arboretum 3675 Arboretum Dr., Chaska, MN, 952-443-1400, arboretum.umn.edu Hours during conference week: Mon–Sat 8am–4:30pm, Sun 10am–4:30pm. On view Mar 22–Apr 7.

Unfolding Epoch This exhibition explores what it means to be alive in the Anthropocene, making art that reflects on our current environment and relationships with it. Merrie Wright, Lisa Truax, Shanna Fliegel, Blake Williams, Anne Scott Plummer, Tara Daly, Heather Mae Erickson, Elaine Quave, and Bradley Klem. Curated by Lisa Truax.

NORTHFIELD Carleton College 320 3rd St. E, Northfield, MN, 507-222-4469, apps.carleton.edu/museum Hours during conference week: Mon–Sun 11am–6pm. Hamlin Creative Space at the Weitz Center for Creativity

From the Beginning: Carleton Alumni Ceramic Exhibition Carleton has produced an impressive number of successful ceramic artists. This exhibition of work by alums reveals the benefits of a diverse and varied undergraduate education. Deborah Sigel, Dorae Hankin, Sean Roberts, John Vigeland, Dustin Yager, Sarah Gross, Sam Hoffman, Mel Griffin, Kristin Pavelka, Careen Stoll, and others. Curated by Kelly Connole. On view Mar 1–Apr 10.

Mar G Commons at the Weitz Center for Creativity

Ceramics from the Carleton Art Collection This show of treasures from the Carleton Art Collection demonstrates the college’s dedication to building a vibrant teaching collection. Steven Young Lee, Beth Lo, Rexford Brown, Helga Gamboa, Warren MacKenzie, Jim Gottuso, Ted Saupe, Casey McDonough, Yoko SekinoBove, Matthew Schiemann, and others. Curated by Jeff Rathermel. On view Jan 11–Apr 5.

Perlman Teaching Museum at the Weitz Center for Creativity

Around Us: What Ceramic Makers Collect What do ceramic artists assemble and surround themselves with? Find out through this exhibition that offers a peek at the personal clay collections of 10 makers. Kip O’Krongly, Mike Helke, Kelly Connole, Kate Fisher, Juliane Shibata, and others. Curated by Jeff Rathermel. On view Jan 11–Apr 4. Sin: The Seven Deadlies in Clay A presentation of diverse and unique ceramic works illustrating pride, greed, lust, envy, gluttony, wrath, and sloth. Kevin Kao, Ron Geibel, Kelly Connole, Erin Holt, Paul S. Briggs, Guillermo Guardia, Jenn Angell, Attila Ray Dabasi, Kate Fisher, Michon Weeks, and others. Curated by Jeff Rathermel. On view Feb 8–Apr 21.

Carleton College, Laurence McKinley Gould Library (Main Floor, in the Athenaeum) 1 N College St., Northfield, MN, 507-222-7182 go.carleton.edu/claytoday Hours during conference week: Mon–Fri 8am–5pm, Sun 12–10pm. On view Mar 21–May 3.

Exhibition Guide

potters - four pairs of artists whose unique relationships celebrate how knowledge, experience, and spirit is shared. Warren MacKenzie and Guillermo Cuellar, Robert Briscoe, and Jason Trebs, Linda Christianson and Jil Franke, Ursula Hargens and selected students. Curated by Mark Lambert. On view Mar 19–Apr 5.

Carleton Clay Today An exhibit showcasing work by students enrolled in Advanced Ceramics with Professor Kelly Connole during Winter Term 2018 at Carleton College.

Flaten Art Museum 1520 St. Olaf Ave., Northfield, MN, 507-786-3556, stolaf.edu/flaten Hours during conference week: Mon–Wed 10am–5pm, Thu 10am–8pm, Fri 10am–5pm, Sat–Sun 12–4pm. Ceramic Art in Japanese Tea Ceremony Ceramic objects central to the Japanese tea ceremony are highlighted in this student-curated exhibition of works from Flaten Art Museum’s collection. Unknown artists from Japan from unknown years. On view Mar 8–Apr 14.

Commemorate A site-specific installation featuring hand-thrown ceramic plates with portraits of under-recognized members of the St. Olaf College community in Northfield, Minn. Jeni Hansen Gard and Forrest Sincoff Gard. On view Feb 8–Apr 14. More Than That: Diversity within Diversity Brings together artists of color whose works defy cultural expectations. Syd Carpenter, Morel Doucet, Ezenwa, Courtney M. Leonard, Roberto Lugo, Malcolm Mobutu Smith, Sana Musasama, Autumn Wallace, and Diego Valles. Organized by Roberto Lugo. On view Feb 8–Apr 14. Ron Gallas Cup Library The Ron Gallas Cup Library is a circulating collection of over 100 ceramic cups by well-known artists from across the United States. Doug Casebeer, Sam Chung, Wesley Harvey, Lorna Meaden, and Sue Tirrell. Curated by Kate Fisher and St. Olaf College students. Ongoing.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

LEW WHITE BUS & SHUTTLE TOURS

Kansas Exhibitions City and the Lew White Tours Greater New Overview Beford Region Tour

Northfield Arts Guild 304 Division St. S, Northfield, MN, 507-645-8877, northfieldartsguild.org Hours during conference week: Mon–Fri, 12–6pm, Sat–Sun 11am–4pm. Exhibitions on view Mar 21–May 11.

Artists of the Cannon River Clay Tour: Place 11 artists linked through geography and love of material exhibit 10 place settings and sculptures that highlight the influences of place on the varied ceramic work they make. Barbara Zaveruha, Chris and Sue Holmquist, Colleen Riley, Donovan Palmquist, Glynnis Lessing, James LaChance, Joel Froehle, Juliane Shibata, Kelly Connole, and Kip O’Krongly. Curated by Heather Lawrenz. Cell Persona: Incarceration’s Impact on Black Lives This exhibition explores the fragility of humanity affected by the prison system both as structural reality and metaphor for inner life. Paul Briggs. Curated by Heather Lawrenz. To the Top! An exhibition featuring an eclectic mix of drinking vessels created by regional ceramic artists who are members of the Northfield Arts Guild. Marion Angelica, Christie Clarke, Rafael Estrella, Sonja Hillestad, Judy Kutulas, Caroline Mecklin, Sue Pariseau, Elizabeth Pechacek, Katie Teesdale, Sarah Titus, and Johnnie Walker. Curated by Heather Lawrenz.

RED WING Pottery Museum of Red Wing 240 Harrison St. Ste. 4, Red Wing, MN, 651-327-2220, potterymuseumredwing.org Hours during conference week: Mon–Sun 9am–5pm. Reception: Sat, Mar 30, 3–5pm. On view Mar 15–Apr 7.

Pottery Museum Of Red Wing Permanent Collection Explore the story of Red Wing Minnesota’s clay industry. View over 9,500 artifacts displayed chronologically starting in 1877 with salt glaze, then bristol glaze, kitchenware, art pottery and ending with dinnerware in 1967. Red Wing’s famous designers of the 1940’s, 50’s and 60’s featuring Charles Murphy, Belle Kogan, Eva Ziesel, and many others.

The Anderson Center at Tower View 163 Tower View Dr., Red Wing, MN, 651-388-2009, andersoncenter.org Hours during conference week: Mon–Fri 8am–5pm, Sat–Sun 10am–2pm. Reception: Sat, Mar 30, 2–4pm. On view Feb 9–Apr 9.

In Place: Residency as Artistic Utopia Through a wide range of contemporary ceramic works produced in short–term artist residency programs, In Place explores the idea of artist residency as temporary artistic utopia. Elissa Armstrong, Sharif Bey, Scott Carter, Tomas J. Daunora, Rachel K. Garceau, Jennifer Johnson, Sasha Koozel Reibstein, David Robinson, Ibrahim Said, Leah Tacha, and others. Curated by Stephanie Rogers.

HUTCHINSON Clay Coyote Gallery 17614 240th St., Hutchinson, MN, 320-587-2599, claycoyote.com Hours during conference week: Mon–Sat 10am–5pm. Reception: Sat, Mar 30, 3–7pm. On view Mar 16–30.

MN Pottery Festival Past & Present An exploration of past and present clay artists from across the United States who have been sharing their craft with rural Southwest Minnesota over the last seven years. Kerry Brooks, Reiko Cunningham-Uchytil, Karin Kraemer, Joe Frank McKee, Ernest Miller, Nate Saunders, Mary Jo Schmith, Joey Sheehan, Zac Spates, Tony Winchester, and others. Curated by Morgan Baum.

WISCONSIN The Phipps Center for the Arts, Riverview Gallery 109 Locust St., Hudson, WI, 715-386-2305, thephipps.org Hours during conference week: Mon–Sat 9am–4:30pm, Sun 12– 4:30pm. *Galleries also open one hour prior to performances. On view Mar 1–Apr 7

Cross River Connections Explores a community of connectedness created between students, St. Olaf College and University of Wisconsin-River Falls, at the McKeachie-Johnston Anagama. Casey Beck, David Morrison, Matthew Wilhelm, Stephanie Lenertz, Heather Kennedy, Elliot Corbett, Liam Hannan, Claire Nelson, Hannah Prichard, and Macy Stormont. Organized by Casey Beck and David Morrison.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

University of Wisconsin River Falls, Kleinpell Fine Arts Building, Gallery 101 410 S 3rd St., River Falls, WI, 715-425-4771 uwrf.edu/ART/Gallery101.cfm Hours during conference week: Mon–Tue 12–5pm, Wed 10am–5pm, Thu–Sun 12–5pm. On view Mar 11–Apr 3. Abstracting Pottery-centric exhibition communicating the relevance and function of abstraction as it relates to the way that pots are carriers of culture and/or human identity(s). Jordan McDonald, Brooks Oliver, Rebecca Chappell, Joanna Powell, and Giselle Hicks. Curated by Mike Helke.

LEW WHITE TOURS EXHIBITION BY BUS ROUTE Both Timed Tours and Continuous Shuttle Routes are offered by Lew White Tours during the Conference. Tickets can be purchased at the Tour and Shuttle Booth in the Mezzanine level of the Convention center.

Timed Tours (Tuesday and Wednesday Daytime; Thursday Night) • Riders board the bus on Grant St./2nd Ave. S. at the same time and the group stays together during the entire tour. • At each stop a certain amount of time is allowed to visit the exhibition(s). • At the end of each visit everyone reboards the bus and travels to the next stop • The tour cost on Wednesday includes a box lunch to enjoy while traveling.

Continuous Gallery Shuttle Routes (Wednesday Daytime; Thursday and Friday Night) • Buses operate continuously; departures every 30 minutes Grant St./2nd Ave. S. • Board the bus at the Convention Center at your leisure. • Each rider receives a wristband which is the ticket to re-board the bus at any stop along the route. • At any of the stops on the shuttle riders may hop-off and visit the exhibition(s)

LEW WHITE BUS & SHUTTLE TOURS

• NOTE: A unique shuttle ticket is needed for each shuttle route.For more information or to answer any questions, please contact Lew White Tours at: 877235-1843 toll free or leww@lwti.com

Augsburg University

2211 Riverside Ave. S., Minneapolis Christensen Center Gallery

• Northern Blends: The Artfulness of Coffee and Tea in the Canadian Midwest Gage Gallery

• Jim Shrosbree: slo/roll

TUESDAY: Two NCECA Sponsored Exhibitions, Northern Clay Center, and Sergei Isupov Timed Tour Prior to Conference $30.00 per person Onsite: $35.00 per person Departs Convention Center at 1:30pm Returns to Convention Center at 5pm

Stop 1. Northern Clay Center 2424 Franklin Ave. E, Minneapolis • Artists of NCC • In Service: Engaging and Connecting through Clay • Staff Infection • Trading Post: Exchange and Sojourn • Under the Black and Baltic Deep

University of Minnesota, Wilson Library

4th Fl., 309 19th Ave. S, Minneapolis • Alternate Endings 2: Contemporary Ceramic Bookends • Geologic Shift

Stop 3. The Museum of Russian Art 5500 Stevens Ave. S, Minneapolis • Surreal Promenade: Ceramic Art of Sergei Isupov

Stop 4. Soo Visual Arts Center

2909 Bryant Ave. S #101, Minneapolis • 2019 NCECA Juried Student Exhibition

Highpoint Center for Printmaking 912 W. Lake St., Minneapolis

Stop 2. University of Minnesota, Regis Center for Art 405 21st Ave. S, Minneapolis

(East) Katherine E. Nash Gallery 2019 NCECA Annual Exhibition:

• 2019 NCECA Annual Exhibition: The Form Will Find Its Way: Contemporary Ceramic Sculptural Abstraction

(East) Quarter Gallery • Department of Art Sculpture and Ceramics Area Faculty and Graduate Student Exhibition (West) Regis West Gallery

• Department of Art Ceramics Lecturers Exhibition: Object Lessons

• Crossing Dimensions: Heather Delisle, Edward Eberle, Ron Meyers, JJ Peet, Patti Warashina

WEDNESDAY: Minneapolis Picks Timed Tour

Tour Cost (including box lunch):Prior to Conference, $79.00 per person Onsite: $89.00 per person Departs Convention Center at 9am Returns to Convention Center at 5:10pm

Stop 1. Gamut Gallery

717 S 10th St., Minneapolis • Other Objects

Stop 2. Soo Visual Arts Center

2909 Bryant Ave. S #101, Minneapolis • 2019 NCECA Juried Student Exhibition

Highpoint Center for Printmaking 912 W. Lake St., Minneapolis • Crossing Dimensions: Heather Delisle, Edward Eberle, Ron Meyers, JJ Peet, Patti Warashina

Lew White Tours

knowing that every 25-30 minutes a bus will be available at the shuttle stop to hop on and ride to the next exhibition or return to the Convention Center.

Stop 3. The Museum of Russian Art 5500 Stevens Ave. S, Minneapolis • Surreal Promenade: Ceramic Art of Sergei Isupov

Stop 4. The White Page 3400 Cedar Ave. N, Minneapolis • Little Red Quartet

Stop 5. Squirrel Haus 3450 Snelling Ave. S, Minneapolis • Iowa’s Educators: Artists as Maker • Matter at Hand

Stop 6. Northern Clay Center

2424 Franklin Ave. E, Minneapolis • Artists of NCC • In Service: Engaging and Connecting through Clay • Staff Infection • Trading Post: Exchange and Sojourn • Under the Black and Baltic Deep

Stop 7. University of Minnesota Regis Center for Art 405 21st Ave. S, Minneapolis (East) Katherine E. Nash Gallery

• 2019 NCECA Annual Exhibition: The Form Will Find Its Way: Contemporary Ceramic Sculptural Abstraction (East) Quarter Gallery

• Department of Art Sculpture and Ceramics Area Faculty and Graduate Student Exhibition (West) Regis West Gallery

• Department of Art Ceramics Lecturers Exhibition: Object Lessons

LEW WHITE BUS & SHUTTLE TOURS

Kansas Exhibitions City and the Lew White Tours Greater New Overview Beford Region Tour

Stop 8. Weisman Art Museum

Stop 3. Carleton College

333 East River Rd., Minneapolis

320 3rd St. E, Northfield

• The Persistence of Mingei: Influence Through Four Generations of Ceramic Artists

Stop 9. Continental Clay @ CO Exhibitions Gallery

1101 NE Stinson Blvd. (south entrance), Minneapolis • CLAYTOPIA | SEA Roots • You Extra

Stop 10. Water Bar & Public Studio

2518 Central Ave. NE, Minneapolis • H2O

Stop 11. Thor Companies Copeland Art and Training Center 1256 Penn Ave. N #402A, Minneapolis • Viewers of the Made • Human Nature

Hamlin Creative Space at the Weitz Center for Creativity

• From the Beginning: Carleton Alumni Ceramic Exhibition Mar G Commons at the Weitz Center for Creativity

• Ceramics from the Carleton Art Collection Perlman Teaching Museum at the Weitz Center for Creativity

• Around Us: What Ceramic Makers Collect • Sin: The Seven Deadlies in Clay

Carleton College, Laurence McKinley Gould Library 1 N College St., Northfield • Carleton Clay Today

Stop 4. Northfield Arts Guild, 304 Division St. S, Northfield

Stop 12. Hennepin Made

• Artists of the Cannon River Clay Tour: Place

144 Glenwood Ave., Minneapolis

• Cell Persona: Incarceration’s Impact on Black Lives

• Bonspiel • KITSCH BITCH WITCH

• To the Top!

Stop 5. Flaten Art Museum

WEDNESDAY: Northfield and Red Wing Galleries Timed Tour 1520 St. Olaf Ave., Northfield Tour Cost (including box lunch):Prior to Conference, $79.00 per person Onsite: $89.00 per person Departs Convention Center at 8:30am Returns to Convention Center at 3:45pm

Stop 1. The Anderson Center at Tower View 163 Tower View Dr., Red Wing

• In Place: Residency as Artistic Utopia

Stop 2. Pottery Museum of Red Wing 240 Harrison St. Ste. 4, Red Wing • Pottery Museum of Red Wing Permanent Collection

• Ceramic Art in Japanese Tea Ceremony • Commemorate • More Than That: Diversity within Diversity • Ron Gallas Cup Library

WEDNESDAY - Minnesota Potters of the Upper St. Croix River Valley Timed Tour Tour Cost (including box lunch):Prior to Conference, $79.00 per person Onsite: $89.00 per person Departs Convention Center at 8am Returns to Convention Center at 4:50pm

Stop 1. Matt Krousey’s Studio hosting Richard Vincent Stop 2. Will Swanson and Janel Jacobson at their studio Stop 3. Linda Christianson’s Studio hosting Jeff Oestreich. Stop 4. Ani Kasten’s Studio hosting Guillermo Cuellar Stop 5. Concordia College

1301 Marshall St., St. Paul

WEDNESDAY CONTINUOUS GALLERY SHUTTLES Shuttle cost: Prior to Conference, $30.00 per person Onsite $35.00 per person Buses operate from 10am to 5pm.

South Minneapolis Wednesday Shuttle Stop 1. Soo Visual Arts Center 2909 Bryant Ave. S #101, Minneapolis • 2019 NCECA Juried Student Exhibition

Highpoint Center for Printmaking, 912 W. Lake St., Minneapolis • Crossing Dimensions: Heather Delisle, Edward Eberle, Ron Meyers, JJ Peet, Patti Warashina

Stop 2. Minneapolis College of Art and Design

2501 Stevens Ave. S., Minneapolis • Fabricating the Real

Minneapolis Institute of Art 2400 Third Ave. S, Minneapolis

• Living Clay—Artists Respond to Nature

Stop 3. Norway House

913 E Franklin Ave., Minneapolis • Inter-Connected 72

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

LEW WHITE BUS & SHUTTLE TOURS 2600 Park Ave., Minneapolis • Response

Stop 4. Squirrel Haus 3450 Snelling Ave. S, Minneapolis • Iowa’s Educators: Artists as Makers • Matter at Hand

Stop 5. Silverhouse Studio

2519 27th Ave. S, Minneapolis • POT SPOT: St Croix Valley Pottery Tour 2019

Vine Arts Center Gallery Ivy Arts Building 2637 27th Ave. S., Minneapolis • Ideal Made Real: MN NICE

Stop 6. Northern Clay Center 2424 Franklin Ave. E, Minneapolis • Artists of NCC • In Service: Engaging and Connecting through Clay • Staff Infection • Trading Post: Exchange and Sojourn • Under the Black and Baltic Deep

Stop 7. University of Minnesota Regis Center for Art 405 21st Ave. S, Minneapolis

(East) Katherine E. Nash Gallery

• 2019 NCECA Annual Exhibition: The Form Will Find Its Way: Contemporary Ceramic Sculptural Abstraction (East) Quarter Gallery

• Department of Art Sculpture and Ceramics Area Faculty and Graduate Student Exhibition (West) Regis West Gallery

• Department of Art Ceramics Lecturers Exhibition: Object Lessons

Augsburg University

2211 Riverside Ave. S, Minneapolis Christensen Center Gallery

• Northern Blends: The Artfulness of Coffee and Tea in the Canadian Midwest Gage Gallery

• Jim Shrosbree: slo/roll

University of Minnesota Wilson Library, 4th Fl 309 19th Ave. S, Minneapolis • Alternate Endings 2: Contemporary Ceramic Bookends • Geologic Shift

Stop 3. Continental Clay @ CO Exhibitions Gallery

1101 NE Stinson Blvd. (south entrance), Minneapolis

Lew White Tours

American Swedish Institute

• CLAYTOPIA | SEA Roots • You Extra

Foci Glass

2010 Hennepin Ave. E, Bldg. #10, Minneapolis • Pitch, Tone, Modulation

Stop 4. Northrup King Building

1500 Jackson St. NE, Minneapolis Third Floor Gallery

Stop 8. Weisman Art Museum

• Unapologetic: Women’s Ceramics in the Land of Mingei-Sota

333 East River Rd., Minneapolis

• Minnesota Women Ceramic Artists Juried Exhibition

• The Persistence of Mingei: Influence Through Four Generations of Ceramic Artists

University of Minnesota, The Architecture and Landscape Architecture Library 89 Church St., 210 Rapson Hall, Minneapolis

• Alternate Endings 2: Contemporary Ceramic Bookends • Two Sites with a Similar Problem

Northeast Minneapolis Wednesday Shuttle

Studio 394

• Part & Parcel

Q.arma Building 1224 Quincy St. NE, Minneapolis • Diverse Clay • Heart Land Stories

Minneapolis Clay Collective 1224 Quincy St. NE Ste. 135, Minneapolis • Minneapolis Evolves

Stop 5. California Building 2205 California St NE, Minneapolis

Stop 1. Truckstop Gallery

• Directly Playful

20 Grove St., #72 (Nicollet Island), Minneapolis • This land like a mirror turns you inward

Stop 2. Collaborative Design Group

125 SE Main St. Ste. 240, Minneapolis • Trans-Pacific Dialogue: Marrying Form and Surface Across the Globe

• Exuberant Ornament • The Rat Trap Clay Club Collaboration Event Gallery 101

• Two Friends Under the Influence: Diego Valles and Marko Fields Mojo Coffee Gallery

• MUGSHOT2 - 2nd International Biennial Juried Ceramic Coffee Mug Competition and Exhibition SouthEast Gallery

• 4X6X8: International Juried Tile Competition and Exhibition

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

LEW WHITE BUS & SHUTTLE TOURS 2001 A Space 2001 5th St NE, Minneapolis

Kansas Exhibitions City and the Lew White Tours Greater New Overview Beford Region Tour

• Personifications

Stop 6. American Craft Council 1224 Marshall St. NE, Minneapolis • Creative Collective: The Clay Studio as Claytopia in Philadelphia • ON VIEW: Highlights from The American Craft Council Library and Archives

Clay Squared to Infinity

2505 Howard St. NE., Minneapolis • Small but Mighty

Stop 7. Thor Companies, Copeland Art and Training Center 1256 Penn Ave. N #402A, Minneapolis • Viewers of the Made • Human Nature

Stop 8. Hennepin Made 144 Glenwood Ave., Minneapolis • Bonspiel • KITSCH BITCH WITCH

St. Paul Wednesday Shuttle Stop 1. St. Catherine University 2004 Randolph Ave., St. Paul

1712 Randolph Ave., St. Paul • OIKOSystem

Stop 3. Macalester College Law Warschaw Gallery 1600 Grand Ave., St. Paul • Strange Place

Stop 4.Schmidt Artist Lofts 900 7th St. W, St. Paul

• Over the Divide: Works from the Clay Studio of Missoula

Our Lady of Victory Chapel at St. Catherine University

• Self-Guided Architectural Tour - The Wonder of Batchelder: Clay-inspired History of Our Lady of Victory Chapel at St. Catherine University

• Remain an Artist: Mingei-sota Teachers Continue the Lineage

Stop 7. Concordia University, St. Paul 300 Hamline Ave., St. Paul Buetow Gallery

• Clay at Concordia: Off the Wall and On It Too

Concordia University, St. Paul 1301 Marshall Ave., St.

• Divergence

• Return to Concordia

Pig’s Eye Gallery

The Concordia Gallery

• Full Circle: Decay, Dread, and Déjà vu after Wedgwood

• Pottery and Place

• My Four Truths Tap Room Gallery

• something, here, gone. Tunnel Gallery

• Form and Abstraction: A Universal Language

Stop 5. Creators Space

218 7th St. E, Ste. 100, St. Paul • 5 Years: Studio 740 Resident Exhibition

• Women Who Teach

• Intersection: A Coalition of Makers/ Educators in K-12

Paul H. Williams Gallery

• Ceramic Highlights from the St. Catherine University Fine Art Collection: Warren MacKenzie, Nan Bangs McKinnell & James McKinnell

Visual Arts Building

Creative Arts Secondary School 65 E Kellogg Blvd., St. Paul

Landmark Gallery

• 2018 Archie Bray Resident Artists Exhibition

• Accumulation: New Work by Monica Rudquist and Judy Onofrio

The Transformation Gallery

Flex Gallery

CDC Student Center

The Catherine G. Murphy Gallery

Stop 2. Saint Paul Academy and Summit School Harry M. Drake Gallery

Stop 6. Landmark Center

75 5th St. W, Ste. 226, St. Paul AAW Gallery of Wood Art

• Traces North Gallery

• Ray Chen, Ceramic Sculptor

Concordia University Graebner Memorial Chapel 1259 Carroll Ave., St. Paul

• The Riemer Collection: Traditional Korean Celadons

EVENING RECEPTION TOURS AND SHUTTLES West Suburban Thursday Reception Timed Tour Prior to Conference, $30.00 per person Onsite: $35.00 per person Departs Convention Center at 4:30pm Returns to Convention Center at 9pm

Stop 1. Artistry

Bloomington Center for the Arts 1800 W Old Shakopee Rd., Bloomington • Urban Parallel: A Celebration of the History and Legacy of Ceramics in Glasgow, Scotland

Minnesota Museum of American Art Stop 2. 350 Robert St. N, St. Paul Normandale Community College • The Good Making of Good Things: Craft Horizons Magazine 1941-1979

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

9700 France Ave. S, Bloomington

• Western Wisconsin Pottery Tour – Connecting Public to Art

LEW WHITE BUS & SHUTTLE TOURS

4701 W 64th St., Edina • OutsideHers • The Natural World in Clay: An Evening Walk

Stop 4. Hopkins Center for the Arts 1111 Main St., Hopkins

• The Earth is Broken, the Earth is Whole.

Stop 5. Joe Christensen Pottery

10895 Excelsior Blvd., Ste. 203, Hopkins • Earthy Paradise • Form, Surface, Pattern, Repeat

Stop 6. Minnetonka Center for the Arts 2240 North Shore Dr., Wayzata • Lost & Found: Reitz + Gustin Collaboration • Warren MacKenzie + John Reeve: Kindred Spirits

THURSDAY AND FRIDAY EVENING RECEPTIONS CONTINUOUS SHUTTLES

Shuttle (per route) cost: Prior to Conference, $30.00 per person Onsite $35.00 per person Buses operate from 5pm to 9pm.

THURSDAY South Minneapolis Thursday Reception Shuttle Stop 1. Soo Visual Arts Center

2909 Bryant Ave. S #101, Minneapolis • 2019 NCECA Juried Student Exhibition

Highpoint Center for Printmaking 912 W. Lake St., Minneapolis

• Crossing Dimensions: Heather Delisle, Edward Eberle, Ron Meyers, JJ Peet, Patti Warashina

Stop 2. Minneapolis College of Art and Design 2501 Stevens Ave. S., Minneapolis • Fabricating the Real

Stop 7. University of Minnesota Regis Center for Art 405 21st Ave. S, Minneapolis

Lew White Tours

Stop 3. Edina Art Center

(East) Katherine E. Nash Gallery

Minneapolis Institute of Art

2400 Third Ave. S, Minneapolis; No reception; Cafe with cash bar/snacks • Living Clay—Artists Respond to Nature

Stop 3. Norway House

913 E Franklin Ave., Minneapolis • Inter-Connected

American Swedish Institute 2600 Park Ave., Minneapolis

• 2019 NCECA Annual Exhibition: The Form Will Find Its Way: Contemporary Ceramic Sculptural Abstraction (East) Quarter Gallery

• Department of Art Sculpture and Ceramics Area Faculty and Graduate Student Exhibition (West) Regis West Gallery • Department of Art Ceramics Lecturers Exhibition: Object Lessons

Augsburg University

2211 Riverside Ave. S., Minneapolis

• Response

Christensen Center Gallery

Stop 4. Squirrel Haus

3450 Snelling Ave. S, Minneapolis • Iowa’s Educators: Artists as Makers • Matter at Hand

• Northern Blends: The Artfulness of Coffee and Tea in the Canadian Midwest Gage Gallery

• Jim Shrosbree: slo/roll

Stop 5. Silverhouse Studio

University of Minnesota

2519 27th Ave. S, Minneapolis • POT SPOT: St Croix Valley Pottery Tour 2019

Vine Arts Center Gallery

Ivy Arts Building 2637 27th Ave. S., Minneapolis • Ideal Made Real: MN NICE

Stop 6. Northern Clay Center

Wilson Library 4th Floor, 309 19th Ave. S, Minneapolis • Alternate Endings 2: Contemporary Ceramic Bookends • Geologic Shift

Northeast Minneapolis Friday Reception Shuttle Stop 1. Continental Clay @ CO Exhibitions Gallery

1101 NE Stinson Blvd. (south entrance), Minneapolis • CLAYTOPIA | SEA Roots • You Extra

FOCI Glass

2010 Hennepin Ave. E, Bldg. #10, Minneapolis • Pitch, Tone, Modulation

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

LEW WHITE BUS & SHUTTLE TOURS Stop 2. Minneapolis Clay Collective

Kansas Exhibitions City and the Lew White Tours Greater New Overview Beford Region Tour

1224 Quincy St. NE Ste. 135, Minneapolis • Minneapolis Evolves

Northrup King Building

1500 Jackson St. NE, Minneapolis Third Floor Gallery

• Unapologetic: Women’s Ceramics in the Land of Mingei-Sota • Minnesota Women Ceramic Artists Juried Exhibition Studio 394

• Part & Parcel

Q.arma Building

1224 Quincy St. NE, Minneapolis

Stop 5.Hennepin Made

144 Glenwood Ave., Minneapolis • Bonspiel • KITSCH BITCH WITCH

St. Paul Friday Reception Shuttle Stop 1. Schmidt Artist Lofts 900 7th St. W, St. Paul Flex Gallery

• Over the Divide: Works from the Clay Studio of Missoula Landmark Gallery

• Divergence

• Diverse Clay

Pig’s Eye Gallery

• Heart Land Stories

• Full Circle: Decay, Dread, and Déjà vu after Wedgwood

Stop 3. California Building

2205 California St. NE, Minneapolis • Directly Playful

• My Four Truths Tap Room Gallery

• something, here, gone.

• Exuberant Ornament

Tunnel Gallery

• The Rat Trap Clay Club Collaboration EventGallery 101

• Form and Abstraction: A Universal Language

• Two Friends Under the Influence: Diego Valles and Marko Fields Mojo Coffee Gallery

• MUGSHOT2 - 2nd International Biennial Juried Ceramic Coffee Mug Competition and Exhibition South East Gallery

• 4X6X8: International Juried Tile Competition and Exhibition

2001 A Space

2001 5th St. NE, Minneapolis • Personifications

Stop 4. Thor Companies, Copeland Art and Training Center 1256 Penn Ave. N #402A, Minneapolis • Viewers of the Made • Human Nature

Stop 2. Creators Space

218 7th St. E, Ste. 100, St. Paul • 2018 Archie Bray Resident Artists Exhibition • 5 Years: Studio 740 Resident Exhibition

Stop 3. Landmark Center

75 5th St. W, Ste. 226, St. Paul AAW Gallery of Wood Art

• Traces North Gallery

• Ray Chen, Ceramic Sculptor (Exhibition open; no reception)

The Transformation Gallery Creative Arts 65 E Kellogg Blvd., St Paul

• Intersection: A Coalition of Makers/ Educators in K-12 • Remain an Artist: Mingei-sota Teachers Continue the Lineage 76

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Stop 4. Concordia University, St. Paul 300 Hamline Ave., St. Paul Buetow Gallery

• Clay at Concordia: Off the Wall and On It Too

Concordia University, St. Paul 1301 Marshall Ave., St. Paul H. Williams Gallery

• Return to Concordia The Concordia Gallery

• Pottery and Place

2019 NCECA JURIED STUDENT EXHIBITION Soo Visual Arts Center | 2909 Bryant Ave S #101| Minneapolis, MN 55408

Top left: Alexa Harding Top right: Chanakarn Semachai Bottom: Bethany Panhorst

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

NCECA’s 54th annual conference takes place March 25-28, 2020 at the: Greater Richmond Convention Center 403 N 3rd St Richmond, Virginia 23219 A region steeped in history and engaged with reinvention, the arts, teaching and learning are at the heart of Richmond, Virginia’s vision for innovation. The primary material of ceramic art, clay, connects our human experience from our local communities to distant places, and times long past. Clay’s receptivity to human touch carries the hands of distant and past makers into the here and now. Ceramic art’s diversity of expression and continuous invention generate affinities that extend the human imagination. NCECA’s 54th annual conference will explore ways that ceramic artists are charting new pathways from the complex meanings of our interwoven histories. HOST ORGANIZATIONS Virginia Commonwealth University School of the Arts (VCUarts) is a comprehensive art school within a major, urban public research university located in Richmond, VA. Currently ranked the No. 1 public school of art and design by U.S. News and World Report, the school enrolls nearly 3,000 students and offers 18 undergraduate and 24 graduate degree programs in fine arts, design, performing arts, historical research, and pedagogical practice. Its campus in Doha, Qatar provides students and faculty with a direct tie to the Middle East, a region of increasing significance in the contemporary art world. Distinguished faculty at VCUarts are internationally recognized in their respective fields and committed to mentoring the next generation of artists, entrepreneurs, scientists, scholars, and engaged citizens of the world. The Visual Arts Center of Richmond (VisArts) has helped adults and children explore their creativity and make art since 1963. Each year, the organization touches the lives of more than 33,000 people through its classes, exhibitions, community outreach programs, camps, workshops and special events. Founded in Church Hill as the Hand Workshop, the organization moved to the historic Virginia Dairy building at 1812 West Main Street, where it leased space for 17 years before purchasing and later renovating the building. Completed in 2007, the renovation transformed the facility into an inviting and inspiring 30,000-square-foot arts center, which includes the 1,800-square-foot True F. Luck Gallery. The gallery’s focus is on materials and processes of contemporary artists. Each year, VisArts offers more than 800 visual and creative arts classes in clay, wood, fiber, painting, photography, printmaking, glass, metal, drawing, writing, decorative arts and other visual media. More than 125 instructors teach for the organization.

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Deadline

Call Name 2019

2020 Lectures, Co-Lectures, & Panels 2020 Demonstrating Artists

2018

5/15/2019 CONTEMPORARY CRAFT ENNSYLVANIA

5/15/2019

2020 Project Space

5/15/2019

2020 Concurrent Exhibitions

4/17/2019

2020 Venue Originated Exhibitions

6/12/2019

2020 NCECA Annual Exhibition 2020 Gallery Expo

2018

CONTEMPORARY CRAFT

6/26/2019 6/26/2019

2020 NCECA Student Juried Exhibition

9/25/2019

2020 Emerging Artists

10/2/2019

2020 Short Form

10/9/2019

2020 Clay Conversations

10/9/2019

2020 Student Interests

10/9/2019

Regina Brown Undergraduate Student Fellowships

10/9/2019

NCECA Graduate Student Fellowships

10/9/2019

Multicultural Fellowships

10/9/2019

Board and Awards Nominations

10/9/2019

2020

2020 International Residencies

1/22/2020

2021 Concurrent Exhibition Proposals

4/15/2020

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

2019 EXHIBITION LOOKBOOK

Explore worlds of clay and creation through exhibitions surrounding NCECA’s 53rd annual conference.

Shiyuan Xu

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Geologic Shift University of Minnesota, Wilson Library

Jonathan Mess

Geologic Shift University of Minnesota, Wilson Library

Left: Priya Thoresen Right: Peter Christiansen Johnson

NCECA 2019 â&#x20AC;˘ 53rd Annual Conference Program â&#x20AC;˘ Minneapolis, Minnesota

left: Danutė Jazgevičiūtė, from Baltic

Staff Infection, Trading Posts, and Baltic at Northern Clay Center

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Warren MacKenzie, from In-Service

left: Emily Romens, from Staff Infection, right: Chotsani Elaine Dean, from Trading Posts

Lisa Buck

Linda Christianson

OutsideHers at Edina Art Center Keep Portland Wared: Pottery in the Pacific Northwest at Skutt Ceramics Jim Koudelka

NCECA 2019 â&#x20AC;˘ 53rd Annual Conference Program â&#x20AC;˘ Minneapolis, Minnesota

WET: Performing UtopiaZ Squirrel Haus Arts

Andrew Leo Stansbury 84

NCECA 2019 â&#x20AC;˘ 53rd Annual Conference Program â&#x20AC;˘ Minneapolis, Minnesota

Marval A Rex

Caitlin Mary Margarett

Kukuli Velarde

Creative Collective: The Clay Studio as Claytopia in Philadelphia at American Craft Council

Linda Cordell

Ken Vavrek NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Dawn Youll

Urban Parallel: a celebration of the history legacy Bayand Area Clay:ofAceramics LegacyinofGlasgow, Social Scotland at Artistry Consciousness

Livia Martin 86

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Jonathan Wade

Susan_O’Byrne

Northern Blends: The Artfulness of Coffee and Tea in the Canadian Midwest Jim Koudelka Keep Portland Wared:Augsburg Pottery inUniversity the at Christensen Center Gallery, Pacific Northwest at Skutt Ceramics

Terry Hildebrandf

Juliana Rempel NCECA 2019 â&#x20AC;˘ 53rd Annual Conference Program â&#x20AC;˘ Minneapolis, Minnesota

Forrest Lesch-Middelton & Arash Shirinbab

Top: The Earth is Broken, the Earth is Whole at Hopkins Center for the Arts

Bay Area Clay: A Legacy of Social Bottom: Bonspiel Consciousness

Forrest Lesch-Middelton & Arash Shirinbab

at Parallel Café & Hennepin Made

Toni Losey 88

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Martin Tagseth

Jim Shrosbree

Top: Jim Shrosbree: slo/roll at Gage Gallery, Augsburg University Bottom: Lost & Found: Reitz + Gustin Collaborations at Minnetonka Center for the Arts

Don Reitz & Chris Gustin

Don Reitz & Chris Gustin NCECA 2019 â&#x20AC;˘ 53rd Annual Conference Program â&#x20AC;˘ Minneapolis, Minnesota

Adam Posnak

Viewers of the Made at Bay ThorArea Companies, and Clay: A Copeland Legacy of Art Social Training Center Consciousness

Phoenix Savage

Anthony Stellaccio 90

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

Andrea Marquis

Amanda Salov

Other Objects at Gamut Gallery

Ling Chun NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

LIST OF ADVERTISERS AMACO/brent ............................................ 4 Alfred University ........................................ 6 Alfred Ceramic Art Museum ...................... 6

LEARN, CREATE, BUILD, DISCOVER, EXPLORE, GROW AT

Arrowmont School of Arts and Crafts ...... 92 Chinese Clay Art Corp .............................. 40 Clayscapes................................................... 7 Good Earth Pottery/Pitcher Perfect ........... 23 GR Pottery Forms ..................................... 14 Jacksonville University ............................... 2 Joe Christiansen Studio ...........................IFC Laguna Clay Company ......................... IBC Lost & Found: Reitz + Gustin ................. 14 MKM Pottery Tools .....................................7 Mudtools ....................................................23 Northern Clay Center .................................24 School of the Art Institute of Chicago .......30 Smith-Sharpe Fire Brick Supply ................40 St. Catherine University .............................12 Tequa Creek .................................................1 Tucker’s Cone Art Supply.............................40 West Virginia University ............................12 Westmont Ridley-Tree Museum of Art ......56

NCECA 2019 • 53rd Annual Conference Program • Minneapolis, Minnesota

WEEKEND, ONE-WEEK & TWO-WEEK WORKSHOPS

JAN. 22–MARCH 30, 2019

CURATED BY ELIZABETH CARPENTER & PRODUCED BY NCECA

PHOTO:

Reception: 5 PM–9 PM Thursday, March 28

Department of Art, University of Minnesota, Minneapolis, MN cla.umn.edu/art/galleries/katherine-e-nash-gallery

detail of Waiting by Michiko Murakami