Six McKnight Artists

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2020 McKNIGHT ARTIST RESIDENCY FOR CERAMIC ARTISTS RECIPIENT: Ashwini Bhat

2019 McKNIGHT ARTIST RESIDENCY FOR CERAMIC ARTISTS RECIPIENT: Hyang Jin Cho

2021 McKNIGHT ARTIST FELLOWSHIP FOR CERAMIC ARTISTS RECIPIENT: Mike Helke

c M KNIGHT

2020 McKNIGHT ARTIST RESIDENCY FOR CERAMIC ARTISTS RECIPIENT: Tom Hubbard

ARTISTS

2020 McKNIGHT ARTIST RESIDENCY FOR CERAMIC ARTISTS RECIPIENT: Roberta Massuch

2021 McKNIGHT ARTIST FELLOWSHIP FOR CERAMIC ARTISTS RECIPIENT: Juliane Shibata

JULY 1 – AUGUST 21, 2O22 Northern Clay Center, Minneapolis, Minnesota

Essays by Naomi Ko

2020 McKNIGHT ARTIST RESIDENCY FOR CERAMIC ARTISTS RECIPIENT: Ashwini Bhat

2019 McKNIGHT ARTIST RESIDENCY FOR CERAMIC ARTISTS RECIPIENT: Hyang Jin Cho

2021 McKNIGHT ARTIST FELLOWSHIP FOR CERAMIC ARTISTS RECIPIENT: Mike Helke

2020 McKNIGHT ARTIST RESIDENCY FOR CERAMIC ARTISTS RECIPIENT: Tom Hubbard

2020 McKNIGHT ARTIST RESIDENCY FOR CERAMIC ARTISTS RECIPIENT: Roberta Massuch

2021 McKNIGHT ARTIST FELLOWSHIP FOR CERAMIC ARTISTS RECIPIENT: Juliane Shibata

© 2022 Northern Clay Center.

All rights reserved.

No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations embodied in critical articles and reviews.

For information, write to: Northern Clay Center 2424 Franklin Avenue East Minneapolis, MN 55406 www.northernclaycenter.org Manufactured in the United States First edition, 2022 International Standard Book Number 978-1-932706-62-3 Unless otherwise noted, all dimensions in inches: height precedes width precedes depth.

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MCKNIGHT ARTIST FELLOWSHIPS AND RESIDENCIES FOR CERAMIC ARTISTS programs are designed to strengthen and enhance Minnesota’s

artistic community, as well as significantly advance the work of Minnesota ceramic artists whose work is of exceptional artistic merit, who have already proven their abilities, and are at a career stage that is beyond emerging. • The programs provide two forms of direct financial support to ceramic artists: two fellowships are awarded annually to outstanding mid-career Minnesota ceramic artists; four residency awards are granted each year to artists from outside Minnesota, for a three-month stay at Northern Clay Center. • Three individuals comprised the selection panel in 2021: Sanam Emami, a studio potter who explores pattern, unity, and variety within her work, associate professor, and national lecturer; Edith Garcia, a mixed-media sculptor who embraces the unconventional and experimental, research author, and National Council for Education of the Ceramic Arts board member; and Dr. Lyndel King, the transformative Director Emerita of the Frederick R. Weisman Art Museum and Chair of the Board of Overseers at Hill Museum & Manuscript Library at St. John’s University. • The 2022 exhibition catalog features work by two 2021 McKnight Artist Fellows, and four McKnight Artists in residency during 2021. The fellowship artists used the grants to defray studio and living expenses, experiment with new materials and techniques, and build upon ideas within their current and past work. • The McKnight Artist Fellowships and Residencies for Ceramic Artists program and this exhibition are made possible by generous financial support from the McKnight Foundation, Minneapolis, Minnesota.

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Ashwini Bhat 2020 McKNIGHT ARTIST RESIDENCY FOR CERAMIC ARTISTS RECIPIENT

Ashwini Bhat sits in front of a large rectangular window. Behind her are the rolling soft hills and the lush landscape of Sonoma County. She turns around and notices the picturesque setting.

She laughs and offers, “I should make something based off of it, or I could just take a picture.”

For a plethora of reasons, the pandemic being the largest, Bhat was unable to travel to Minneapolis for her residency.

But luck was on her side. She moved into a new place with a beautiful studio and a stunning view. And she loves being in the studio.

the state has to offer; documented the landscape via photo, video, and sound; and collaborated with several biologists and ecologists. The five pieces Bhat created, Beginning is the End is the Beginning, play with the idea of circumambulation. She was inspired

by Getty Snyder’s book, Opening the Mountain, and how he and other beat poets attempted to find trails that could form a perfect circle while trekking Mount Tamalpais.

Being in the studio centers her, even on a day when she’s too tired to get her hands in clay. A self-described “workaholic,” she begins to talk in earnest of the new pieces she created during her residency.

Bhat’s pieces spin and snake into one another—in some angles forming a perfect circle, and in others not so much—like many trails and paths one embarks on. While some of the pieces reflect earthy green and brown tones, in one of the sculptures there are bright blues, yellows, and reds, reminding the viewer that the most vivid colors originate from our natural environment.

Assembling California, Bhat’s current series, explores the relationship Bhat has with the California ecosystem.

She’s been working on this project for the past four years. Her process is immersive. She hiked the many trails

When exploring each of Bhat’s sculptures, the viewer begins to feel as if they are circumambulating Mount Tam, as she (and others) affectionately calls it. Parts of the sculpture are smooth, and others are rocky, bumpy,

even treacherous. Bhat spoke much about her new connection with fire and wildfires, to not only “look at it as destructive, but also as regenerative.”

Fire, and clay, are both fluid and serve as moments in and of transformation.

Bhat’s sculptures call attention to how things often start and end at the same place despite the twists and turns.

It’s the same for Bhat’s entire artistic practice. Her background and training may have started in dance, and it still plays a significant part of her ceramic practice, as do cooking with her mother and gardening. Bhat can find the connections in the many things she does, training her hands to be more tactile, and gleaning lessons from the process.

That’s why Ashwini Bhat is not only a ceramicist. She’s an artist. And to her, ceramics is more than just the clay and the kiln, it’s a way for her to transit and transform.

The Moon Still Up Over the Douglas Firs, Assembling California 2022 Glazed ceramic, text 58" x 20" x 20" Photo Credit: Lance Kuehne

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Hyang Jin Cho 2019 McKNIGHT ARTIST RESIDENCY FOR CERAMIC ARTISTS RECIPIENT

During the first year of the pandemic, Hyang Jin Cho often looked out the window to ease her sadness. As Cho continued to look through her windows inside her home in Fort Collins, Colorado, she reflected on how windows connect different worlds. Soon the squares and rectangular shapes that brought comfort inspired her newest series of works. Cho created cubes of various sizes and colors and experimented with arrangement. She also played with different textures, reminiscent of the dirt, grass, snow, and gravel found outdoors.

Cho’s experience and résumé are impressive. She received her bachelor’s and master’s degrees from Seoul National University (South Korea’s most prestigious university), was a Ph.D. candidate at the University of Tokyo (Japan’s most prestigious university), and worked in academia as an art historian. About 10 years ago, when Cho entered Colorado State University to earn a second bachelor’s degree, she thought she was going to study something practical, like accounting.

She initially wanted to take an art class as a treat for herself. The only

class available was ceramics. But after touching clay, she was hooked.

“Clay was a life-changing event,” she describes. It was. In the past seven years, Cho produced a prolific amount of work. Inevitable Coincidence examined Cho’s experience to the Sewol Ferry Disaster that occurred on April 16, 2014, which took the lives of 304 individuals, mostly high school students. The installation comprises a large off-white textured sculpture of a human figure along with lidded jars of muted shades of brown, green, and blue opposite dark brown egg-shaped pots. In However We Hold Each Other, Cho created coils ranging in size and color. They weave and intertwine into one another manically. The coils induce a sense of anxiety amongst the chaos, much like our messy and intertwined connections.

Boldly injecting currents of emotion and power into her works, Cho uses clay to express things she could not express in English, or even in her native Korean.

Whatever she felt were the forces that suppressed her gradually lightened each time she created.

There has been a shift in Cho’s practice.

Recently she’s been working more with fabrics. She has been sewing and crocheting. Bojagi, a traditional Korean wrapping cloth, piqued her curiosity.

The squares and rectangles usher in a sense of simplicity, turning her focus to minimalism and abstraction.

Cho wanted to see how something as objective as a square responded to subjective thoughts. Throughout her McKnight Residency, Cho started with form. She refused to put idea and feeling into the shape. Then when it came to assembling, the shapes began to evoke feeling and story.

By focusing on form, she wants the viewer to think about how they place their own identity and history onto the squares. It’s not always an immediate response. Cho wants one to examine the subtle effects, to move beyond rather than view the piece in sight.

Much like the windows that brought her solace, she hopes the viewer will use these pieces as a launching point to examine their relationship with themselves and to find connection.

Insomnia 2021 Glazed stoneware 11" x 9" x 5"

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Mike Helke 2021 McKNIGHT ARTIST FELLOWSHIP FOR CERAMIC ARTISTS RECIPIENT

“I’m addicted to being scared.” Mike Helke says, when speaking about his process, “It’s my only vice in life.” Every time Helke is in the studio, he wants to take risks. It’s his way to continue learning, to progress his ceramic practice, and to fight complacency. He acknowledges the privilege to be able to take risks as well as being around risk all the time, especially at the University of Wisconsin – River Falls, where his students constantly push him to rethink what the “rules” truly are when it comes to ceramics.

At first glance, Helke’s work appears utilitarian. Pots. Cups. Plates. Bowls.

Dishes. However, each piece is unique, there’s no uniformity in the traditional sense. The variance in shape, color, and size responds to one another and calls a different energy to each piece, prompting the viewer and user to think about its function. He wants viewers to think about what things could be instead of what they should be.

During his McKnight Fellowship for Ceramic Artists, which he was awarded in 2021, Helke was able to build a

new studio at his home in Stillwater, Minnesota. This new environment provides Helke with fresh inspiration from the lights, the windows, and the overall “good juju.” It’s providing new ways for him to call and respond with his work. He spoke about working on a series of plates. It’s his favorite way to experiment because of its low stakes.

The plates show him what’s working and not working, providing space for him to quickly adapt.

Helke infuses his experiences, personal and professional, into each of his pieces. Memory, history, and place shape the clay in his hands. Each piece reflects how present Helke is when he’s creating. There’s an element of play, but he prefers if one doesn’t describe it as “whimsy.” There’s intentionality. When placing Helke’s wares in the home, he wants to bring a different aura to it. A good energy. It’s hard not to feel it once seeing his use of color, from the oranges to the reds and yellows. The shapes he plays with also bring humor, as seen from forms inspired from architecture, people, and animals. Although Helke’s identity is infused in each ware, he’s

interested in how others embed their own identity into it, and how the function transforms in the house.

Scale currently occupies Helke’s mind.

He’s working with pieces that typically didn’t fit in his kiln. It’s a different type of risk than he typically takes because so much of it relies on the practical and technical. He usually doesn’t care about the fundamentals in his studio practice but concedes it does “really matter now” when firing new works.

When asked what Helke wished people knew about his work, his first response was, “I don’t know.” He followed with, “I hope people know I enjoy making things, and it’s never a burden. I hope it’s apparent in the work.”

Pouring Pot 2020 Stoneware 8" x 4.5" x 7"

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Tom Hubbard 2020 McKNIGHT ARTIST RESIDENCY FOR CERAMIC ARTISTS RECIPIENT

This is how Tom Hubbard characterizes his approach to subject matter: “I tend to choose things that are difficult.”

Looking at his portfolio, it’s hard to disagree. Semper Fidelis, one of his first projects, explores Hubbard’s relationship to his father, who was killed in action in the Vietnam War. Politics, war, family, memory, and pain charge every one of the pieces from this collection, electrifying the viewer to elicit an immediate response to his work. In Recoil, Hubbard manipulated the clay to create dozens of ceramic guns in various shades of gray. The inscriptions on each of these guns bear multiple viewpoints from the gun control debate, including Wayne LaPierre from the National Rifle Association as well as statistics of how many people die from guns in the United States. Like its name, these seemingly simple pieces conjure an unsettling feeling where viewers must confront the complexity of function, safety, and liberty.

Hubbard says, “This is probably naïve, but artwork should challenge viewers and ask difficult questions.”

Originally trained as a graphic designer, Hubbard is meticulous. While creating Semper Fidelis, he filled out notebook after notebook with notes, maps, and interviews from Vietnam veterans and his mother. During this interview, Hubbard lifts three different notebooks, he even scoots his chair back to show a few more. His interdisciplinary approach, such as sketching and drawing, helps him before he hits the clay. But clay gives Hubbard an opportunity to play— a dynamic call and response. He enjoys that, in ceramics, control is elusive.

There are too many variables, especially in the firing process.

Hubbard’s new series, Nicollet, is based on the Hennepin Avenue Bridge, the Mississippi River, and Nicollet Island, where he stayed during his McKnight Residency. It may seem like a departure from the politically-charged collections earlier described. Some of the pieces appear too utilitarian, as if they are actual knots, bolts, and spelter sockets from the bridge. Others are inspired by the bridge and U.S. Geological Survey markers. Some have maps painted onto them from early explorers,

compiled from research conducted at the University of Minnesota. Nicollet is Hubbard’s response to space as well as his relationship to technology, history, industry, and memory.

There’s also his attempt to reconcile the idea that ceramics is a “show, but don’t touch” medium. During Recoil’s exhibition at the Indianapolis Museum of Contemporary Art, (which commissioned the exhibit), museum goers were able to pick up and hold the ceramic guns in their hands. It was the same when Hubbard exhibited his collection at a local gun and knife show. His pieces are robust, and it is no different for Nicollet. One cannot but resist the urge to trace the Mississippi River on N 021, like many do when looking at a map or globe.

Somehow Hubbard resists the urge to treat his works preciously. It recalls his relationship with history and memory, bearing to ask the question: does time give objects their value? He’s not sure of this answer. Maybe he’ll find the solution in this problem.

N 018A 2021 Soda-fired stoneware, nut, neoprene washer 10" x 10.5" x 5.5"

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Roberta Massuch 2020 McKNIGHT ARTIST RESIDENCY FOR CERAMIC ARTISTS RECIPIENT

Roberta Massuch can’t stop thinking about the sun and the moon. And staircases. The greater topic she’s interested in, though, is the changes that occur during the passage of time.

Much of her work is a close observation on architecture and its relationship to other structures, bodies, and the natural environment. In 2016, Massuch traveled to Mexico for an eight-week residency and studied the work of Luis Barragán, a Mexican architect known for utilizing bold colors in minimalist architecture.

While one may concentrate on the vibrant hot pink structure in Massuch’s at 10 am the day before, the focus of the piece is the relationship the structure has with its surroundings, from the tiles below it to the white structure across from it. At certain times during the day, and depending on how light hits the sculpture, what is white is more of a lavender. This focus on the elements—color, light, shadow, and form—reminds the viewer to notice the things often overlooked. It poses the question: how can one see the world without visceral emotion?

Massuch grew up in the Twin Cities metro area. During her McKnight residency, she reflected how the city of Minneapolis changed from her youth back in the early 2000s and what it looks like now. She rode her bike throughout the city and was surprised at how quickly time passed.

Looking at the buildings in downtown Minneapolis, she focused on the way buildings reflect each other, and how they dissolve into one another. Back at Northern Clay Center, she experimented with plexiglass and expanded it into 3-D forms. The newer buildings weren’t the only thing that captured Massuch’s attention. She also researched the unique Prairie School style of older architecture in the city. Massuch knows there is much to say and to create on the relationship between the newer and older architecture, and how they impact and capture one another.

off her brain and move into a meditative and therapeutic state. She describes the process as “magical.” In her current practice, Massuch often moves from 2-D to 3-D, and vice versa. It helps her to figure out what are the best methods that work for her and how to advance the discipline technically. But don’t ask her if something will be “3-D.” Her practice is fluid. Massuch cares less about what has been traditionally defined as ceramics. The traditions she cares for are mentorship and apprenticeship and how knowledge, skill, and information pass down from generation to generation. She could do less with white European men being the sole bearers of expertise.

While Massuch describes her work as “quiet,” the existential questions she poses through her work are in fact quite loud.

“I don’t care that much about clay,” Massuch replied when asked what ceramics means to her. “Maybe [clay] isn’t the best material.” But clay, when it’s in its plastic state, allows her to turn

homeland, pt. 1 2021 Stoneware, slip, terra sigillata, glaze, plexiglass 16" x 11" x 7"

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Juliane Shibata 2021 McKNIGHT ARTIST FELLOWSHIP FOR CERAMIC ARTISTS RECIPIENT

“Hapa” is a term originally from Hawaii.

It means “part” in Hawaiian and is most used to describe multi-racial Asian Americans. For Juliane Shibata, who is the daughter of a third-generation Japanese American father, it’s a term she hasn’t overtly addressed. However, the complexity of not fully knowing her Japanese heritage, or feeling Japanese, is explored in some of her pieces honoring her family. She also curated Michi: Distinctive Paths, Shared Affinity, which was a traveling exhibition that featured works from Japanese American and Japanese artists.

that are decorative and those that are time-based. She’s investigating how patterns travel across time and space and how certain traditions change over time. Shibata describes how the textiles one wears or places in their home speak so much to our individual identity. The lines on several of her ovoids are faint and hard to see, reflecting how certain parts of our identity are not so obvious to ourselves and to one another. But she’s also interested in the relationship between textiles and ceramics, the ephemerality and permanence of them both.

Shibata was awarded the 2021 McKnight Artist Fellowship for Ceramic Artists.

She’s an accomplished artist whose work has been shown across the United States and internationally. In addition to her ceramic practice, she currently teaches at Carleton College, her alma mater.

This theme, the relationship between what is permanent and what is ephemeral, appears in her installation series of real and porcelain flowers.

In Daisies, Shibata hand molded, in her words, “way too many” porcelain daisies. Together, the uniformity of the daisies is clear in their off-white and yellow centers. When peering closely, each petal differs slightly, sometimes one’s center is more brown than yellow.

She also molded wilting daisies with limp petals and decaying discs. Shibata

Right now, textiles inspire Shibata. Their repetition, patterns, axis, symmetry, and specific cultural meanings, excite her practice. The ovoids she’s created reflect two different patterns: those

also paired her porcelain work with real daisies. It confused viewers. It also energized her pieces, creating a new, yet familiar, environment.

Shibata’s work is beautiful. It calls to the decorative as well as the Arts and Crafts Movement. It’s something Shibata has embraced over the past few years: a reclaiming of what has historically and culturally been seen as “women’s art” and not worthy to be considered as “high art.” She’s ready to create whatever calls to her without worrying about trends and what gatekeepers consider to be elevated.

While “hapa” is the popular, more common, term to describe mixed-race Asian Americans, there is another term used to describe multi-racial people of Japanese descent: twice. Instead of being “part,” twice implies one gets double the whole. Twice fits Juliane Shibata. She’s an artist and teacher. Her work is micro and macro. It’s accessible and elevated. Twice, indeed.

Shippo Pattern 2021 Porcelain, underglaze 16" x 16" x 2"

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Ashwini Bhat PENGROVE, CA APRIL 23, 1980 (PUTTUR, KARNATAKA, INDIA)

EDUCATION 2003 MFA, Literature and Translation Studies, Bangalore University, India SELECTED SOLO EXHIBITIONS 2022 Shoshana Wayne Gallery, Los Angeles, CA • Imprinted, American Museum of Ceramic Art (AMOCA), Pomona, CA 2021 What I Touch Touches Me, Lucy Lacoste Gallery, Concord, MA 2017 Honoo-no-Mori, Shigaraki Ceramic Cultural Park, Japan SELECTED GROUP EXHIBITIONS 2022 Clay as Soft Power: Shigaraki Ware in Postwar America and Japan, University of Michigan Museum of Art, Ann Arbor • Ritual Encounters, a collaboration with Forrest Gander, The Vanderhoef Studio, Theatre at the Robert and Margrit Mondavi Center for the Performing Arts, University of California, Davis • Fragile Earth, Grounds for Sculpture, Hamilton, NJ • Belonging, NCECA Annual, Crocker Art Museum, Sacramento, CA 2021 Objects: USA 2020, R & Company, New York City • After the Fire, Round Weather Gallery, Oakland, CA • Passages From India, Northern Clay Center, Minneapolis, MN 2020 Forms Fired, Shoshana Wayne Gallery, Los Angeles, CA 2018 Breaking Ground, Indian Ceramic Triennale, Jawahar Kala Kendra, Jaipur, India

SELECTED AWARDS 2020 McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis, MN 2013-14 Howard Foundation Fellowship for Sculpture, Providence, RI GALLERY REPRESENTATION Lucy Lacoste Gallery, Concord, MA • Shoshana Wayne Gallery, Los Angeles, CA SELECTED COLLECTIONS New Bedford Historical Society, Frederick Douglass National Park, MA • Newport Art Museum, RI • Shigaraki Ceramic Cultural Park, Koka, Japan • Watson Institute for International Studies, Providence, RI PROFESSIONAL EXPERIENCE 2022 Teaching, SHAPE project, University of California, Davis 2021 Teaching, Studio Sessions, A-B Projects, Los Angeles, CA 2019 Teaching, Ox-Bow School of Art, Saugatuck, MI 2018 Teaching, Peters Valley School of Craft, Layton, NJ 2017 Guest Artist, The Ceramic Cultural Park Shigaraki, Shiga, Japan

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Hyang Jin Cho FORT COLLINS, CO

EDUCATION 2019 BFA, Pottery & Painting, Colorado State University, Fort Collins 1996-1997 Ph.D. Study, Art History, University of Tokyo 1994-1996 Postgraduate Foreign Research Student, Art History, University of Tokyo 1995 MA, Art History, Seoul National University, South Korea 1991 BA, Archaeology & Art History, Seoul National University, South Korea SELECTED SOLO/GROUP EXHIBITIONS 2019 Test Case XIX, European Ceramic Work Center (EKWC), Oisterwijk, Netherlands • Bogert Group Show, Bogert Gallery, Knokke, Belgium 2016 Daejeon Metropolitan Fine Art Grand Contest 2016, Daejeon Museum of Art, South Korea 2015 Daejeon Metropolitan Fine Art Grand Contest 2015, Daejeon Museum of Art, South Korea 2014 Korea Live, Zeitenströmung, Dresden, Germany • Nebraska National Collegiate Juried Art Exhibition, Lincoln • Daejeon Metropolitan Fine Art Grand Contest 2014, Daejeon Museum of Art, South Korea

SELECTED AWARDS 2019 McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis, MN • LIAEP (Lighton International Artists Exchange Program) Award, Kansas City, KS • Sundaymorning Grant, European Ceramic Work Center (EKWC), Oisterwijk, Netherlands 2016 Honorable Mention, Daejeon Metropolitan Fine Art Grand Contest 2016, South Korea 2015 Honorable Mention, Daejeon Metropolitan Fine Art Grand Contest 2015, South Korea • Jurors’ Award for Excellence, 2015 Student Art Exhibition, Curfman Gallery, Fort Collins, CO 2014 Special Award, Daejeon Metropolitan Fine Art Grand Contest 2014, South Korea PROFESSIONAL EXPERIENCE 2021 Artist-in-Residence, Northern Clay Center, Minneapolis, MN 2019 Artist-in-Residence, European Ceramic Work Center (EKWC), Oisterwijk, Netherlands • 2018 Artistin-Residence, Smokestack Pottery, Fort Collins, CO 2002 Lecturer, Art History, Hannam University, Daejeon, South Korea • Lecturer, Art History, Pai Chai University, Daejeon, South Korea

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Mike Helke STILLWATER, MN BORN: JUNE 30, 1983 (ST. PAUL, MN)

EDUCATION 2011 MFA, Ceramics, New York State College of Ceramics at Alfred University 2005 BFA, Ceramics; Minor, American Studies, University of Minnesota-Twin Cities SELECTED SOLO EXHIBITIONS 2020 Mike Helke, Schaller Gallery, Baroda, MI 2019 Mike Helke, ClayAKAR, Iowa City, IA • MINNESOTA HIP: New Works by Mike Helke, Lucy Lacoste Gallery, Concord, MA 2017 Mike Helke New Works, ClayAKAR, Iowa City, IA SELECTED GROUP EXHIBITIONS 2022 Sprouted Roots, Trax Gallery, Berkeley, CA • DuMA Craft Invitational, Dubuque Museum of Art, IA • Plates, ClayAKAR, Iowa City, IA 2019 Domestic Dining, Freehand Gallery, Los Angeles, CA • NCECA Minneapolis Claytopia, Concurrent Exhibition, The Persistence of Mingei; Influence through Four Generations of Ceramic Artists, Weisman Art Museum, Minneapolis, MN 2018 Fornell + Helke, Traditional/ Modern, Lucy Lacoste Gallery, Concord, MA • Tyler Lotz, Mike Helke, Trey Hill, Harvey Preston Gallery, Aspen, CO • From Useful to Fanciful, Usdan Gallery, Bennington College, VT 2017 Two Young Minnesotans: Mike Helke and Tom Jaszczak, Lucy Lacoste Gallery, Concord, MA • NCECA Future Flux, Concurrent Exhibition, Ash Street Project, Portland, OR • Narrowing The Variables: Five Approaches to the Vessel, Hillman-Jackson Gallery, Bard College at Simon’s Rock, Great Barrington, MA 2016 The Feast, Harvey Preston Gallery, Aspen, CO • Contemporary Clay, Western Carolina University Fine Art Museum, Cullowhee, NC • Utilitarian Clay Symposium Invited Artist (an Andy Brayman invitee), Arrowmont School of Arts and Crafts, Gatlinburg, Tennessee • Under The Influence, Northern Clay Center, Minneapolis, MN 2015-present Artstream Nomadic Gallery, exhibiting artist, Traveling Nomadic Gallery Project 2014, (’20, ’21) American Pottery Festival, Northern Clay Center, Minneapolis, MN 2014 Pour, Schein-Joseph International Museum of Ceramic Art, Alfred University, NY 2013-present St. Croix Valley Pottery Tour, St. Croix Valley, MN 2013 Object Focus; The Bowl, Museum of Contemporary Craft, Portland, OR

SELECTED AWARDS 2021 McKnight Artist Fellowship for Ceramic Artists, Northern Clay Center, Minneapolis, MN 2020 United States Artists Fellowship Nominee, United States Artists, Chicago, IL 2017 Minnesota State Arts Board Artist Initiative Grant, St. Paul, MN 2008 Jerome Ceramic Artist Project Grant, Northern Clay Center, Minneapolis, MN GALLERY REPRESENTATION Artstream Nomadic Gallery, Carbondale, CO • ClayAKAR, Iowa City, IA • Freehand Gallery, Los Angeles, CA • Harvey Preston Gallery, Aspen, CO • Lillstreet Gallery, Chicago, IL • Lucy Lacoste Gallery, Concord, MA • Northern Clay Center, Minneapolis, MN • Schaller Gallery, Baroda, MI • The Clay Studio, Philadelphia, PA • TRAX Gallery, Berkeley, CA SELECTED COLLECTIONS Bruce Linderman Collection, Northville, MI • Robert Pfannebecker Collection, Lancaster, PA • The Rosenfield Collection, Dallas, TX • Weisman Art Museum, Minneapolis, MN SELECTED PROFESSIONAL EXPERIENCE 2014-Present MN NICE Affiliated Artist, Northern Clay Center, Minneapolis, MN 2018-Present Assistant Professor, University of Wisconsin-River Falls • Summer Faculty, Anderson Ranch Arts Center, Snowmass Village, CO • Dayton Hudson Distinguished Visiting Teacher/Artist, Carleton College, Northfield, MN 2020 Juror, 8 Fluid Oz, Louisiana State University, Baton Rouge 2019 Juror, Juried National V, Red Lodge Clay Center, Red Lodge, MT 2018 Visiting Artist Demonstration and Lecture, New York State College of Ceramics at Alfred University • Florida Heat Surface Workshop, Morean Center for Clay, St. Petersburg, FL 2017 Visiting Artist Demonstration and Lecture, Harvard University, Cambridge, MA • Panel Discussion in Conjunction with 2017 NCECA Future Flux Conference: Change, with Mike Helke, Giselle Hicks, Peter Besecker, Oregon College of Art and Craft, Portland, OR 2016 Dayton Hudson Distinguished Visiting Teacher/Artist, Carleton College, Northfield, MN 2015-2018 Adjunct Faculty, University of Minnesota-Twin Cities

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Tom Hubbard ATTLEBORO, MA BORN: APRIL, 10, 1964 (SAN FRANCISCO, CA)

EDUCATION 1987 BFA, Indiana University, Bloomington SELECTED SOLO EXHIBITIONS 2018 Uncharted, Gertrude Herbert Institute of Art, Augusta, GA 2016 Recoil, Indianapolis Museum of Contemporary Art, IN 2014 Detour, Hiram College, OH 2012 Semper Fidelis: How I Met My Father, Kent State University, OH • Broei•kas (Greenhouse), Elon University, NC 2008 Semper Fidelis: How I Met My Father, National Museum of the Marine Corps, Quantico, VA SELECTED GROUP EXHIBITIONS 2021 Juried National IV, Red Lodge Clay Center, MT • Massachusetts State of Clay Biennial, Lexington Arts & Crafts Society, MA 2020 A Change of Atmosphere, Umbrella Arts Center, Concord, MA 2019 We Dare Defend our Right: The Gun Show, Space One Eleven Gallery, Birmingham, AL • A Year of Making Meaning: New Additions to the Collection 2018, Fort Wayne Museum of Art, IN 2017 The Fletcher Exhibit: Social & Politically Engaged Art, East Tennessee State University, Johnson City • A Sense of Place, Gertrude Herbert Institute of Art, Augusta, GA 2016 Seeds, Westobou Gallery, Augusta, GA 2015 Ohio Biennial 2015, Riffe Gallery, Columbus, OH 2014 Sustainability, Tiffin University, OH 2013 Convergence: Experience Through Art, Herron School of Art & Design, Indianapolis, IN • Stellar: Book Art and the Cosmos, Minnesota Center for Book Arts, Minneapolis 2012 Art from the Heartland Biennial, Indianapolis Art Center, IN 2011 Seeing Green: Recycled, Artists Archives of the Western Reserve, Cleveland, OH • Photo National 2011: A Survey of Contemporary Photography, University of Maine Art Museum, Bangor 2008 Art In Red Light-4: See and Be Seen, De Oude Kerk, Amsterdam • Vers Bloed 2008 (Fresh Blood), Haagse Kunstkring, Den Haag, The Netherlands • Tableau, Haagse Kunstkring, Den Haag, The Netherlands 2005 Children of War, National Vietnam Veterans Art Museum, Chicago, IL

SELECTED AWARDS 2021 Juror’s Award, Massachusetts State of Clay Biennial, Lexington Arts and Crafts Society 2020 McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis, MN 2019 Merit Fellow, The Steel Yard, Providence, RI 2017 Juror’s Award, The Fletcher Exhibit, East Tennessee State University, Johnson City COLLECTIONS Community Foundation for the Central Savannah River Area, Augusta, GA • Fort Wayne Museum of Art, Fort Wayne, IN • Greater Cleveland Regional Transit Authority, Cleveland, OH • University of Saint Francis, Fort Wayne, IN PROFESSIONAL EXPERIENCE 2003-present Tom Hubbard Studio, Attleboro, MA (previously based in Georgia, Ohio, The Netherlands, Indiana and Maine) 2019-2021 Artist in Residence and Fellow, The Steel Yard, Providence, RI 2018 Speaker, TEDx Augusta, GA 2013 Open Studio Residency, Haystack Mountain School of Crafts, Deer Isle, ME 2012 Visiting Artist, Elon University, NC

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Roberta Massuch PHILADELPHIA, PA BORN: JUNE 29, 1983 (SHAKOPEE, MN)

EDUCATION 2013 MFA, Studio Art in Ceramics, Louisiana State University, Baton Rouge 2005 BFA, 3-D Studio in Ceramics, magna cum laude, Northern Illinois University, Dekalb SELECTED SOLO EXHIBITIONS 2021 Roberta Massuch: Artist in Residence, Wharton Esherick Museum, Malvern, PA 2017 Through the Between, Resident Artist Solo Exhibition, The Clay Studio, Philadelphia, PA 2013 Still Noticing, MFA Thesis Exhibition, Glassell Gallery, Baton Rouge, LA SELECTED GROUP EXHIBITIONS 2020 InterChange, The Quirk Hotel, Richmond, Virginia & Pittsburgh International Airport • Future Memories, Current and Former Residents of The Clay Studio, The Clay Studio, Philadelphia, PA 2019 From Storage to Studio: Reflexive Relevance, The Clay Studio, Philadelphia, in collaboration with The Philadelphia Museum of Art, PA • Five Foot Show, Gallery 360, Minneapolis, MN 2018 Permanent Residency, Goggleworks Center for the Arts, Reading, PA • The Philadelphia Potters & Guests, The Clay Studio, Philadelphia, PA • Casting Shadows, The Clay Studio, Philadelphia, PA • Seeking, Mingenback Gallery, Bethany College, Lindsborg, KS 2017 Roberta Massuch & Patrick Coughlin: New Works, Kitchen Table Gallery, Philadelphia, PA • Hello/Goodbye, The Clay Studio, Philadelphia, PA • 5 Artists/5 Visions, 3D Faculty Exhibition, Community College of Philadelphia, PA 2016 Sometimes, Always, Never, Group Exhibition, Carroll House Gallery, Keene, NH • Community: Potters of the Philadelphia Clay Studio, MT Burton Gallery, Surf City, NJ • Shaping Minds: Philadelphia’s Clay Mentors, Pearlstein Gallery @ Drexel University, Philadelphia, PA • Community College of Philadelphia Faculty Exhibition, University of the Arts, Philadelphia, PA • Materiality, Methodology, Metamorphosis,

The Studios Inc., Kansas City, KS • Accessibility by Design, Vulpes Bastille, Kansas City, KS • The Architectural Object, HJM Architects, Inc., Kansas City, KS 2015 Big Intimacies: Roberta Massuch & Seneca Weintraut, The Center for Emerging Visual Artists, Philadelphia, PA • On the Threshold, The Clay Studio, Reed + Smith Gallery, Philadelphia, PA • Looking Back, Worcester Center for Craft, MA • Te(A)ch, Sculpture Gym, Philadelphia, PA SELECTED AWARDS 2021 Wharton Esherick Museum Residency, funded by the Windgate Foundation, Wharton Esherick Museum, Malvern, PA 2020 McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis, MN 2016 Ceramics Monthly, Emerging Artist 2015 Independence Foundation, Visual Arts Fellowship, Philadelphia, PA 2009 Jerome Ceramic Artist Project Grant, Northern Clay Center, Minneapolis, MN 2008 Fogelberg Fellowship Residency, Northern Clay Center, Minneapolis, MN GALLERY REPRESENTATION The Clay Studio, Philadelphia, PA PROFESSIONAL EXPERIENCE 2014-2022 Faculty Instructor and Studio Technician, Community College of Philadelphia, PA 2014-2019 Artist in Residence and Instructor, The Clay Studio, Philadelphia, PA 2016 Arquetopia, Special Ceramics Artist Residence, Arquetopia Foundation, Puebla, Mexico 2013-2014 Visiting Artist in Residence, Ceramics Area, Tyler School of Art and Architecture, Temple University, Philadelphia, PA 2006-2007 Artist in Residence, Worcester Center for Craft, Worcester, MA

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Juliane Shibata NORTHFIELD, MN BORN: MARCH 26, 1979 (SHERIDAN, WY)

EDUCATION 2004 MFA, Ceramics, Bowling Green State University, OH Post-Baccalaureate Study, Bowling Green State University, OH 2001 BA, Studio Art, magna cum laude, Carleton College, Northfield, MN SELECTED SOLO EXHIBITIONS 2019 Temporal Patterns, Christensen Center Art Gallery, Augsburg University, Minneapolis, MN 2015 Botanical Transience, Northfield Arts Guild, MN 2007 Ingredients, Carleton College, Northfield, MN SELECTED JURIED EXHIBITIONS 2020 23rd San Angelo National Ceramic Competition, San Angelo Museum of Fine Arts, TX 2019 Blanc de Chine, International Ceramic Art Award (ICAA) Finalist Exhibition, 978 Art District, Beijing, China • Heart Land Stories, NCECA Concurrent Exhibition, Q.arma Building, Minneapolis, MN • 62nd Arrowhead Regional Biennial, Duluth Art Institute, MN 2017 The Space Between (two person show), Inver Hills Community College, Inver Grove Heights, MN • Tropes of Nature, NCECA Concurrent Exhibition, Minthorne Art Gallery, George Fox University, Newberg, OR 2016 道 (Michi) – Distinctive Paths, Shared Affinity: An Exhibition of Japanese American Ceramic Artists, NCECA Concurrent Exhibition, University of Central Missouri, Gallery of Art & Design, Warrensburg 2015 In the Kitchen, Hood College, Frederick, MD • River2River: A Regional Juried Exhibition, Coe College, Cedar Rapids, IA • Botanica: All Things Plant Life, Bedford Gallery, Walnut Creek, CA 2014 Food: A Sustainable Table, NCECA Concurrent Exhibition, Jewish Museum, Milwaukee, WI 2013 Growth Energy3 (three person show), NCECA Concurrent Exhibition, Mother Dog Studios, Houston, TX • Functional/Dysfunctional National Juried Ceramics Competition, Morean Arts Center, St. Petersburg, FL 2012 4th Biennial Concordia Continental Ceramics Competition, Concordia University, St. Paul, MN INVITATIONAL EXHIBITIONS 2021 An Extraordinary Beauty, Work by Karen Halt & Juliane Shibata, Abel Contemporary Gallery, Stoughton, WI 2020

Reclaim, Restore, Northfield Public Library, MN • Owatonna Hospital Healing Arts Program through Owatonna Arts Center, MN 2019 Strata, John Steffl Gallery, Duluth Art Institute, MN • Ruth Crane: A Collector’s Journey, Goldstein Museum of Design, University of Minnesota, St. Paul • Humanly Possible: The Empathy Exhibit, Milwaukee Institute of Art and Design, WI 2015 The Space Between: Kirk Mangus, Eva Kwong, and Art Inspired, Otterbein University, Westerville, OH • Apprenticelines: Divergence/Continuity/ Community, NCECA Concurrent Exhibition, Pawtucket Armory Arts Center, Rhode Island • Silver and Gold, Red Star Studios Ceramics Center, Kansas City, KS AWARDS/SCHOLARSHIPS 2021 McKnight Artist Fellowship for Ceramic Artists, Northern Clay Center, Minneapolis, MN 2020 Tile Heritage Prix Primo Award, 23rd San Angelo National Ceramic Competition, San Angelo Museum of Fine Arts, TX 2020 (’18, ’14) Artist Initiative Grant, Minnesota State Arts Board 2019 First Place Award, 62nd Arrowhead Regional Biennial, Duluth Art Institute, MN 2016 Emerging Artist, Ceramics Monthly GALLERY REPRESENTATION Abel Contemporary Gallery, Stoughton, WI • Gallery 360, Minneapolis, MN COLLECTIONS Brown-Forman Corporation, Louisville, KY • Northern Arizona University Art Museum, Flagstaff • Perlman Teaching Museum, Carleton College, Northfield, MN • Ron Gallas Ceramic Cup Library, St. Olaf College, Northfield, MN PROFESSIONAL EXPERIENCE 2007-Current Visiting Assistant Professor of Art, Carleton College, Northfield, MN 2020-2021 Artist-in-Residence, College of Biological Sciences Conservatory, University of Minnesota, St. Paul 2019 Adjunct Assistant Professor of Art, College of St. Benedict and St. John’s University, St.Joseph / Collegeville, MN (Spring) 2011 Resident Artist, The Pottery Workshop, Jingdezhen, China 2008-2010 Visiting Assistant Professor of Art, Hope College, Holland, MI

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NORTHERN CLAY CENTER

ABOUT THE MCKNIGHT FOUNDATION The McKnight Foundation, a Minnesota-based family foundation, advances a more just, creative, and abundant future where people and planet thrive. Established in 1953, the McKnight Foundation is deeply committed to advancing climate solutions in the Midwest; building an equitable and inclusive Minnesota; and supporting the arts in Minnesota, neuroscience, and international crop research.

Program Goal: As creators, innovators, and leaders, Minnesota’s working artists are the primary drivers of our heralded arts and culture community. Artists nurture our cultural identities, imagine solutions, and catalyze social change.

Founded on the belief that Minnesota thrives when its artists thrive, the McKnight Foundation’s arts program is one of the oldest and largest of its kind in the country.

Support for individual working Minnesota artists has been a cornerstone of the program since it began in 1982. The McKnight Artist Fellowships Program provides annual, unrestricted cash awards to outstanding mid-career Minnesota artists in 14 different creative disciplines. Program partner organizations administer the fellowships and structure them to respond to the unique challenges of different disciplines. Currently the foundation contributes about $2.8 million per year to its statewide fellowships. For more information, visit mcknight.org/artistfellowships.

Past Recipients 1997 F Linda Christianson F Matthew Metz R Marina Kuchinski R George Pearlman 1998 F Judith Meyers Altobell F Jeffrey Oestreich R Andrea Leila Denecke R Eiko Kishi R Deborah Sigel 1999 F Gary Erickson F Will Swanson R Joe Batt R Kelly Connole 2000 F Sarah Heimann F Joseph Kress R Arina Ailincai R Mika Negishi R Mary Selvig R Megan Sweeney 2001 F Margaret Bohls F Robert Briscoe R Vineet Kacker R Davie Reneau R Patrick Taddy R Janet Williams

McKnight Artist Fellowships and Residencies for Ceramic Artists program and this exhibition are made possible by generous financial support from McKnight Foundations, Minneapolis, Minnesota.

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2002 F Maren Kloppmann F Keisuke Mizuno R William Brouillard R Kirk Mangus R Tom Towater R Sandra Westley

2007 F Mike Norman F Joseph Kress R Greg Crowe R John Lambert R Lee Love R Alyssa Wood

2012 F Brian Boldon F Ursula Hargens R Pattie Chalmers R Haejung Lee R Ann-Charlotte Ohlsson R Nick Renshaw

2017 F Xilam Balam Ybarra F Mic Stowell R Derek Au R Linda Cordell R Bryan Czibesz R Ian Meares

2003 F Chuck Aydlett F Mary Roettger R Miriam Bloom R David S. East R Ting-Ju Shao R Kurt Brian Webb

2008 F Andrea Leila Denecke F Marko Fields R Ilena Finocchi R Margaret O’Rorke R Yoko Sekino-Bové R Elizabeth Smith

2013 F Keisuke Mizuno F Kimberlee Joy Roth R Claudia Alvarez R Tom Bartel R Sanam Emami R Sarah Heimann

2018 F Brett Freund F Donovan Palmquist R Ted Adler R Alessandro Gallo R Hidemi Tokutake R Leandra Urrutia

2004 F Andrea Leila Denecke F Matthew Metz R Eileen Cohen R Satoru Hoshino R Paul McMullan R Anita Powell

2009 F Ursula Hargens F Maren Kloppmann R Jonas Arčikauskas R Cary Esser R Alexandra Hibbitt R Ryan Mitchell

2014 F Kelly Connole F Kip O’Krongly R Jessica Brandl R Jae Won Lee R Amy Santoferraro R Andy Shaw

2019 F Kelly Connole F Guillermo Guardia R Pattie Chalmers R Rebecca Chappell R Hyang Jin Cho R Marcelino Puig-Pastrana

2005 F Maren Kloppmann F Tetsuya Yamada R Edith Garcia R Audrius Janušonis R Yonghee Joo R Hide Sadohara

2010 F Linda Christianson F Heather Nameth Bren R William Cravis R Rina Hongo R Naoto Nakada R Kevin Snipes

2015 F Ursula Hargens F Mika Negishi Laidlaw R Kathryn Finnerty R Lung-Chieh Lin R Helen Otterson R Joseph Pintz

2020 F Andrea Leila Denecke F Brad Menninga R Ashwini Bhat R Edith Garcia R Tom Hubbard R Roberta Massuch

2006 F Robert Briscoe F Mika Negishi Laidlaw R Lisa Marie Barber R Junko Nomura R Nick Renshaw R John Utgaard

2011 F Gerard Justin Ferrari F Mika Negishi Laidlaw R David Allyn R Edith Garcia R Peter Masters R Janet Williams

2016 F Nicolas Darcourt F Sheryl McRoberts R Eva Kwong R Forrest Lesch-Middelton R Anthony Stellaccio R Kosmas Ballis

2021 F Mike Helke F Juliane Shibata R Claudia Alvarez R Eliza Au R Lynn Hobaica R Janina Myronova

F = Fellowship Recipient

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R = Residency Recipient

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NORTHERN CLAY CENTER

ABOUT NORTHERN CLAY CENTER Northern Clay Center’s mission is to advance the ceramic arts for artists, learners, and the community, through education, exhibitions, and artist services. Its goals are to create and promote high-quality, relevant, and participatory ceramic arts educational experiences; cultivate and challenge ceramic arts audiences through extraordinary exhibitions and programming; support ceramic artists in the expansion of their artistic and professional skills; embrace makers from diverse cultures, experiences, and traditions in order to create a more inclusive clay community; and excel as a non-profit arts organization.

Staff Tippy Maurant, Deputy Director/Director of Galleries & Exhibitions Kyle Rudy-Kohlhepp, Executive Director Jordan Bongaarts, Exhibition Associate Board of Directors Paul Vahle, Chair Amanda Kay Anderson Bryan Anderson Heather Nameth Bren Evelyn Weil Browne Nettie Colón Sydney Crowder Haweya Farah

Patrick Kennedy Mark Lellman Kate Maury Brad Meier Philip Mische Debbie Schumer Rick Scott Cristin McKnight Sethi

Honorary Director Kay Erickson Legacy Directors Andy Boss Warren MacKenzie Joan Mondale

Photographs of ceramic works (except for Ashwani Bhat) by Peter Lee Design and portraits (except for Ashwani Bhat) by Joseph D.R. OLeary (vetodesign.com) Editor: Franny Hyde

2424 Franklin Avenue East Minneapolis, Minnesota 55406 612.339.8007 www.northernclaycenter.org