Six McKnight Artists July 8 – August 27, 2017 Northern Clay Center, Minneapolis, Minnesota 2016 McKnight Fellowship Recipients: Nicolas Darcourt Sheryl McRoberts 2015 McKnight Residency Recipients: Kathryn Finnerty Lung-Chieh Lin Helen Otterson Joseph Pintz
Essays by Janet Koplos Edited by Elizabeth Coleman Photographs of ceramic works by Peter Lee Design and portraits by Joseph D.R. OLeary (vetodesign.com) Kathryn Finnerty portrait by Robin Seloover
Foreword
http://wwww.northernclaycenter.org Manufactured in the United States
International Standard Book Number 978-1-932706-43-7 Unless otherwise noted, all dimensions: height precedes width precedes depth.
Northern Clay Center
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First edition, 2017
the University of Florida; Garth Clark, writer, gallerist, and Editor-in-Chief of CFile; and Catherine Futter, Director of Curatorial Affairs at the Nelson-Atkins Museum of Art. The 2017 exhibition features work by two 2016 McKnight Fellowship recipients, and four 2015 McKnight Residency Artists. 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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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.
The 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 2016 selection panel: Linda Arbuckle, studio potter and former professor at
Six McKnight Artists
© 2017 Northern Clay Center. All rights reserved.
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Sarah Millfelt, Executive Director
2016 McKnight Fellowship Recipient:
Nicolas Darcourt
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the Twin Cities, but also by a trip to Greece and exposure to relics there, especially fragments of figures. But he never really considered himself a figurative artist, and his figures included abstract interruptions, blocky segments that separated, say, head from hand. It was an unusual kind of structural organization. A two-year residency at the Archie Bray Foundation in Montana gave him more opportunity to develop the work. He gradually shifted into more abstract forms. The path from figuration to the more ambiguous forms he assembles now included those blocky, part-pillar bodies, and a few early abstract sculptures that retained faint associations with figurative form — the way elements were stacked might bring to mind shoulders and a head, for example. More frequently, though, he employed elements that resembled architectural ornamentation or, in one series, the frame of a harp, coupled with arms or hands. All the figurative works allude to identity, placement, and the like. He speaks of them as “looking internally.” The work since then seems to involve external observation and enumeration. He has been particularly attracted to industrial sites and various forms of modern engagement with structural elements — pipes banded together on a flatbed truck that you might see on the highway, for example, or various kinds of machines, or the superstructure of bridges, the facades of old urban buildings, the tracery around stained glass, to name just a few. His sculptures, in their varied forms, make reference both to engineered forms — human products — and to natural features such as ground or underground. They are built up but bring the eye back down to the ground. A sense of proliferation established by the innumerable parts seems to simultaneously allude to creativity, natural reproduction, and excessive waste, so whether one reads it as positive or negative is probably determined by the mindset that one brings to the work. Darcourt now teaches part-time at Gustavus Adolphus College, and works in his home studio. The McKnight grant has enabled him to expand his studio space and to buy a kiln so that he will no longer have to transport the work to fire it at the college.
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Anyone looking at Nicolas Darcourt’s recent work would be impressed with its constructive complexity. Darcourt typically uses dozens and dozens of elements to make up his sculptural constructions but, interestingly, he consistently avoids making them predictable, or even orderly. Sometimes there is a hint of some logical system, such as a branching pattern recalling vegetative growth, or a passel of pigeonholes. Also among his recent works are structural wheels — some reminiscent of hamster wheels — that may be tied to a narrow shelf or tied into a pile that instantly suggests the possibility of catastrophic movement if the bindings loosened or broke. The majority of these arrangements of parts are not self-supporting (they avoid the integral coherence of a vessel, for example) but are set upon some sort of base, which may recall any number of support structures, from bridges to carts to pallets. Each is a provisional surface that serves to present the arrangement of elements while adding a suggestion of extension since these bases seem to be only a part of something, not a whole in themselves. With the richness of these many associations, Darcourt has kept his options open, not settling on a single direction, or even a few directions. He has already shifted through many. After beginning his clay experience with functional pottery, he spent most of his early years creating figurative sculpture. Those works ranged from far-oversize heads (loosely self-portraits) to pieced bodies of real body scale if not always-real body form, to small and quite refined figures mounted on the wall. Darcourt, who grew up in Appleton, Wisconsin, can trace his interest in materials back to second grade, and he says he’s always been interested in problem solving. His serious attraction to ceramics began in a well-equipped high school art department. He headed off to Northern Michigan University thinking he would go into art education, but as a junior switched to the BFA program in ceramics. He spent some time as a special student at the University of Minnesota (a chance to develop a body of work without being enrolled in a degree program) and ultimately earned his MFA there as well. It was during that time that he made the figurative work. It was influenced, he says, not just by the parade of personalities in the more urban setting of
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Building
Topiary Façade II, 2017 stoneware, underglaze, glaze, string, treated wood 25” x 14” x 10”
2016 McKnight Fellowship Recipient:
Sheryl McRoberts
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recognition that gives them meaning and makes them acceptable in Christian iconology. She made female heads, which she refers to as angels because they have circular backings that might be seen as haloes. She also calls them the Three Graces, from Greek mythology. She has expressed her interest in the immediate and verifiable through forming disembodied hands and feet as well. They are cast and then altered. McRoberts’s ideology yields works that shows process. They are not so finely finished that all marks of the tool are eradicated, and each mark is, for her, equivalent to the lines of a sketch. That heightens the play of light and shadow, which interests her. The scraped-off clay is allowed to remain as a kind of truth telling. McRoberts was born and raised in Kalamazoo, Michigan, and started college as a music major at Wheaton College in Illinois. She graduated from Augsburg College in Minneapolis as an art major with a focus on sculpture (clay was only incidental at that point). She had a Fulbright to Italy in stone carving, and some of the ideas from that work have carried through. She did her graduate work at Indiana University with figurative subject matter including flowers and plants; the work was close to drawing and she attended painting critiques. She took drawing classes as well, including anatomy. She still considers herself a sculptor in general, not a ceramic sculptor, although she is very much attracted to the intimacy and immediacy of clay. It allows her to retain the “energy” in the work, to show evidence of her search, and to allow viewers to search for what they’re seeing. She spent six months in Europe in 2014, drawing in museums, especially looking at hands and gestures. Her McKnight fellowship allowed her to go to Spain, where she examined Spanish baroque work for the first time. In cathedrals the relief and sculptural imagery was over the top. She was awed by the “excess,” and says, “They didn’t care if they made a mistake.” It was eye opening, and also a considerable boost to her morale. She notes that any art career has its ups and downs, and the endorsement of a juried grant like the McKnight is a confirmation of the artist’s aspirations.
Northern Clay Center
Sheryl McRoberts slips from category to category. She is a sculptor who has regularly worked in clay but has also carved stone and cast bronze. She is an instructor at Normandale Community College in Bloomington, Minnesota, teaching drawing, and she considers drawing central to her practice. In fact, she considers her sculptures threedimensional drawings and regards line as moving through them in the same way that it moves on paper. She once took a rejuvenating pause away from sculpture for several years and developed her thinking by means of drawing. The idea of clay drawing is easiest to understand in reliefs. In fact, that’s the type of work she first made — deep reliefs, perhaps reminiscent of works by the 15th century Italians Andrea and Luca della Robbia, except that theirs were polychrome glazed while hers show the clay undisguised, and theirs were mostly religious whereas hers were still lifes. Her reliefs might also recall the “rustic” platters of the 16th century French polymath Bernard Palissy, which he embellished with deep-relief lizards, frogs, ferns, and other creatures and features of the marshes near his home. McRoberts also employed frogs, along with apples and sticks in her early reliefs. Or she depicted a tabletop scattered with fish, vegetables, and dishes. Historically, still lifes are memento mori, focusing on that which most readily decays to remind us that all life is transient. Or they have been labeled as vanitas paintings, which emphasize the superficiality of worldly pleasures. Both forms were particularly popular in the 17th century. It’s interesting to express those ideas in clay — earth — a substance that starts out formless but after firing becomes almost eternal (albeit more likely lasting in shards rather than whole). But the traditional meanings were less her intention than just observing closely what was real, what she could see, and recording it faithfully through the truthful, yet abstracted, means of line. Eventually she had a change of heart, fearing that the reliefs were not much more than decorative. After the drawing break, McRoberts returned to clay with a focus on body parts. The idea was inspired by seeing the many severed heads of John the Baptist in European painting and sculpture. Yet in America, heads are an iffy subject, not necessarily carrying the religious
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Bodies
Sheryl McRoberts would like to thank Lazare Rottach for the thrown plates, which are included in her exhibition.
Untitled, 2017 terra cotta (cone 1) 9” x 17” x 17”
2015 McKnight Residency Recipient:
Kathryn Finnerty Places
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waitlisted, so she geographically zigzagged again: she went to Louisiana State University in Baton Rouge, where she studied with Linda Arbuckle. It was a drastic change in climate and landscape but the best move she ever made, she thinks. Health problems took her out of school, and when she returned she was less focused on landscape, adding surface pattern and decoration. She thought about wallpaper. She wondered where she was culturally. Her graduate show was vessels, the bottoms pressmolded, and the tops thrown and altered. Then she was off to Calgary for four years of teaching at the Alberta College of Art and Design, followed by a move to Winnipeg. But she and her husband, Tom Rohr, a potter she had met at LSU, decided to return to the US and try Oregon. They bought an old house/barn parcel, moved there in 2000, and started building a pottery and wood kilns to produce ware for American Craft Council fairs, etc. Finnerty was making landscapes with “windows” offering tiny pictures. But then she began teaching at a community college and didn’t make work for several years. After her husband’s sudden death in 2009, she moved into town; a double garage is her studio. She works only in the summer, an intense three months. She came to Northern Clay Center on sabbatical to think about what will meaningfully occupy her when she eventually returns to full-time studio practice. This residency was followed by one in Canada and travel to the Netherlands for research and to look at a favorite landscape, and to the part of England where her parents lived, to see the landscape of her heritage. At NCC she was trying to let go of preconceived ideas. She felt completely free to experiment, and found it “great to be in an awkward phase again — how often do you get that chance?” In the studio she had a three-part vase with a fluid handle, sprigged flowers, and a central cartouche painted with bucolic flowers or a pastoral landscape — the kind for which she yearns. Recent works suggest topography with rippled edges or glaze combinations. Most are container forms — including teapots — sized not for utility but for the suggestion of expansiveness.
Northern Clay Center
Restless might be a key word for Kathryn Finnerty. She tells with amusement of the various times she wandered off as a child, motivated by curiosity and enabled by confidence, but causing family searches. Movement was also built into to her family life: her grandparents had emigrated from Ireland to England, and her parents came from England to Canada. Finnerty was born in Toronto but the family also lived in northern Manitoba for five years. She sees this restlessness as an instinct of the child of immigrants; she says she was looking to belong somewhere and wanted to “put it on like a jacket.” Her adult life followed a similar pattern: she moved to Vancouver, BC, at 19, where she skied and took craft classes and finally got serious and applied for an electrical engineering course at the University of British Columbia. This was following in her engineer-father’s footsteps, which seemed logical because his work was creative and problem-solving, and she had worked with him on home projects and liked to put things together. But although she took the entry exams and was good to go, her thinking shifted and she decided to return to Toronto to enter a jewelry program at a community college. There she had to start with electives, and one was a ceramics course in which she learned to throw. She changed majors, and this one stuck. Finnerty trained in commercial ceramics at George Brown College of Applied Arts and Technology. It was a Monday-thru-Friday, 9-to-5 skills course of learning chemistry, mold-making, and the like. There was no opportunity for after-hours studio work. She followed it with a year as a special student at Sheridan College, and then she was off to the Nova Scotia College of Art and Design (NSCAD), where she studied with Walter Ostrom and Neil Forrest. At NSCAD she was throwing and altering, making works about landscape with bone-like or pressing-iron shapes. Domestic objects were meaningful to her, and she felt she needed some utilitarian component to engage her (an assumption she is now questioning). Minnesota’s Mark Pharis did a workshop at NSCAD; fascinated by his use of patterns because she’d been taught by her mother to cut sewing patterns, she applied to graduate school at the University of Minnesota. However she was only
Garibaldi, 2016 Terra cotta, slip, glaze 7” x 14” x 5”
2015 McKnight Residency Recipient:
Lung-Chieh Lin
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curving, volumetric ceramic forms that are either supported or caged by rectilinear structures made of iron. He was thinking (perhaps recalling his elementary school teaching) of the rules within which we must operate. The next step was objects without frames. He would catch insects, or look at a water sample through a microscope, and devise familiar but unidentifiable forms. He handbuilt these complex objects as single pieces, working intuitively on a foam support, without a sketch, turning them so that they have no obvious orientation, until they became too large to turn. Then he began to develop what he calls “dendritic structures,” which he relates to experience, to a process like breathing. These might be presented on a table or on the wall, hanging from a frame by means of a long extension that he thinks of as a tail. His “serialized” organisms, which include his work at NCC, are repetitive organic structures that reveal the process of making by handbuilding. They might recall caterpillars, chain or narrow-necked jugs, or fleshy breasts, or the scales of a plant structure. They have an intimacy that becomes surprising when one learns that a scientific title such as Forficulids means, “earwig.” These organic structures continue to interest him. He has placed them in iron rings on walls, or suspended them overhead in an iron frame that allows an interesting shadow-pattern to fall on the floor. The newest works, made at NCC, include a three-part blue sequence on the wall, and a number of wormily curving pieced forms, most with head and tail ends, and the head either opening to reveal a shiny interior or flattened into a pattern, suggesting the mouth of some tunneling creature. (Actually, some patterns are inspired by manhole covers.) The biggest changes in Minnesota were adapting to another clay and, especially, glazes that gave him complex surfaces after multiple firings. Texture is new to his work. The Minnesota experience also encouraged him to make functional pottery, which had only been an occasional activity, and drew his attention to the patterns of flowers, the structure of trees, and the various kinds of small creatures he saw regularly here. A new idea, a kaleidoscope, represents biological combinations. The residency was a challenge and an achievement.
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Imagine the challenge of doing a residency where finding someone who speaks your language would be a rare occurrence. Lung-Chieh Lin came from Taiwan for his NCC stay. The opportunity to experience more of America was something he had longed for since a one-semester stay in South Carolina while he was in college. Although he has enjoyed travel to Europe for residencies, symposiums, and exhibitions, he was intrigued by the great freedom in America on his first trip, and this second time, he had an additional surprise: he was overwhelmed by the numbers of flowers blooming in Minneapolis (luckily, he was here in the spring). Lin is the second of four children of a small businessman who ran a family grocery. From childhood he always wanted colored pens because he was always drawing. But when he went to university, although he took drawing courses, he worked in a variety of materials while concentrating on clay, and exhibited an installation of ceramic sculptures as his studies concluded. He ended with a BA and became an elementary-school teacher. His teaching career lasted four years, during which he did some work in a friend’s studio on weekends, and wood fired with a group of friends. Discomfited by the rigidity of the educational program and its daily tests, he left to go to graduate school. He enrolled in a national art university, a smaller school than the academic one where he had done his undergraduate courses, and relatively isolated in the countryside. That encouraged intense work sessions throughout the three-year program. During his second year, he had the first American sojourn, during which he had to mix his own clay for the first time. There was time to experiment with color. Although Lin made functional ware, especially teapots, as a whole his work is striking for its conceptual approach. This was true in his undergraduate exhibition piece, an arrangement of nine pyramids including subtle profiles, drilled holes, and surface marks that evoke codes. The title is Memory of Roamers, and he considers it to reflect what remains in the mind after the physicality of daily life. His graduate school work began a long examination of the relationship between organic form (non-specific organisms) and architectonic structures. Usually this consisted of
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Discovery
Serialized Organism 2016-2, 2016 white stoneware, glaze 11” x 20” x 29”
2015 McKnight Residency Recipient:
Helen Otterson
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decay. She also remembers Imogen Cunningham’s floral photographs with their emphasis on individual parts and repetition. Otterson wasn’t going after erotic effects but she was seeing that as part of the normal reproductive sequences of life. Since graduate school, she has taught at various locations and enjoyed a dozen residencies. She lived the last four years in North Dakota, filling temporary teaching positions. Her residency at Northern Clay Center was a pause before her new job in Kentucky. It was also, unfortunately, the time of another death in her family. The work she made during her abbreviated stay here extended the vegetal forms she now addresses — not reproductions of known plants so much as abstractions of the elements. Many have strappy leaves because those are fluid and dynamic shapes. Blossoms themselves have often been cast glass because they can capture light to produce translucent color. On the other hand, some works suggest the forms and surface patterning of succulents (desert plants). She says, with a laugh, that she knows Fibonacci sequences — those organizing principles of nature — very well. That’s especially logical because of an early interest in mathematics. Bronze comes into play for stems, which she could not have made in clay. These works have involved multipart elements suggestive of clusters of seeds or pod-like fruits such as bananas, or swelling vegetables such as squash — albeit with extraordinary surfaces. She has worked in porcelain — particularly during residencies in Europe and because it is a better match for glass — but when color is involved, it is hues she draws from nature — what she sees, or, during the long colorless North Dakota winter, what she remembers. But it’s inaccurate to describe a botanical identity alone: she retains a biomorphic association as well, drawing on the cellular details of human life probably less familiar to most of us. She thinks of roots and blossoms as representing the parent and child relationship. Or when the works have three constituent elements, she thinks of them as representing herself and her brothers, the three of them as links in the reproductive chains that bind all living things, each kind in its own way.
Northern Clay Center
One surprise of Helen Otterson’s work is her mix of materials. While ceramics is her central medium and the one in which she earned her BFA (Kansas City Art Institute [KCAI]) and her MFA (University of Miami), she has been incorporating glass for some time now, having learned to work with it in graduate school. She has more recently added bronze. Thus it seems logical that she is teaching sculpture in her new job at Morehead State University in Kentucky, rather than ceramics specifically. Another surprise is that her mature body of work, since graduate school, has been inspired by disease — and that it’s beautiful rather than horrifying. Otterson’s father was diagnosed with cancer when she was eight years old. He was given six months to live, but amazingly survived another 20. When she was growing up, that knowledge was a fact of everyday life. She also remembers a book of micro-photographs by Lennart Nilsson that depicted the body’s interior. She came to regard microbes, pernicious and benign, as entirely consistent with the rest of life. As she explains it now, cancer cells are, like any other cells, trying to live their lives and reproduce, albeit in an environment hostile to them. The shapes and textures of diseased cells can be as beautiful as the more beneficial ones, she says. She contrasts these life forms to the differing vegetation of California (her home state) and Florida — desert harshness and swampy lushness. Otterson was working figuratively when she finished her undergraduate program at KCAI. (There, she says, a whole world opened to her, and she could see for the first time that she could pursue a life in clay.) She enjoyed residencies in Vermont and Maryland before heading to graduate school. She knew her focus would be sculpture so she looked for a program with that emphasis, particularly because KCAI had favored the wheel. At Miami, she studied with Christine Federighi, who, as luck would have it, was also a person who dealt positively with a cancer diagnosis, although she was in remission during the time Otterson was there. Otterson’s focus on disease developed in various ways, including showing the body breaking and reassembled. She ultimately realized that the figure was not necessary. In Florida, experiencing the tropical flora, she didn’t notice the change of seasons so much as growth and
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Life Forms
Untitled, 2017 porcelain 6” x 6” x 9”
2015 McKnight Residency Recipient:
Joseph Pintz
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presenting it with cutlery and tableware made by studio craftspeople. The first American iteration, in San Francisco last September, included his work. He decided to extend his interest in tools (he regards tableware as tools for serving and eating) by adapting the shapes of four shovel heads as serving dishes. He usually works with bisque molds, which he drapes with a favored brick clay that he began using in Nebraska and still prefers. His time here involved refining the shapes and deciding on the use of glaze and/ or terra sigillata. Shovels, of course, allude to earth and to the growing of food and so offer a symbolic meaning as well as a reductive functional form. Pintz has retained the scratched surfaces and almost primitive forms of his earlier works. He thinks the project has loosened his work a bit, but he still prefers that it be as simple as possible and that decoration, as he dips a toe into it, should not compete with form. He was charged with making 60 of his dishes, but with four shovel-styles and subtle variations within each, he did not feel oppressed by the number. At NCC, they are arranged on the wall in grid rows, seven of each shape in a line — pointed, rounded, squared off, and a slightly rounded shape with square corners. Each has a different degree and shape of concavity to the scoop, the squared-off one being the flattest at the tip but the most angled at the base. Pintz’s surfaces appear hand-rubbed — or perhaps they allude to the wear of aging — so that even identical forms are individuated. The result is that viewers’ eyes constantly move over the rows, finding new interests. Promotional photographs for Steinbeisser show the dishes set with Garden Herb Sorbet and Bitter Cacao from pastry chef Stephanie Frida of the California restaurant Manresa. Green and brown contrast with the pale tonality of the shovel dish, and sprinkled or leafy embellishments contrast with its stoic reductiveness. Pintz’s other works are nearly always associated with food, and show a striking simplicity of shape, whether oval, rectangular, or square. They have uninflected rims and sit firmly on the table without carved feet. Their colors are pastels, but not so much sweet as ethereal.
Northern Clay Center
Joseph Pintz is the son of German immigrants who settled in the Chicago area. His ceramic work has been influenced by the centrality of food in his family: not just eating it, but growing, and canning, or otherwise preserving it as well. As he found his own voice in the medium, what he made followed functional form in a sort of timeless and placeless way, with a sense of weight balanced by soft, companionable colors. Although he was an Anthropology and Urban Studies major in college and came indirectly and late to ceramics, he found his way relatively quickly. He took communitycenter classes, worked with a potter in California when he was participating in Teach for America there, took a month-long studio intensive with Josh DeWeese at Anderson Ranch, and ultimately followed DeWeese’s advice to do a post-baccalaureate year at Southern Illinois University, Edwardsville, with Dan Anderson. He was a special student for two years and became Anderson’s assistant as well — a connection that gave him opportunities to visit important ceramic places and meet significant people. He earned his MFA at the University of Nebraska, Lincoln, and taught at Bowling Green State University in Ohio, before assuming his present tenure-track post at the University of Missouri, Columbia. The issue now is finding time to work. Teaching was demanding enough, but Pintz now also balances marriage and, as of 2016, fatherhood. He does most of his potting in the summer. While the McKnight Residency at Northern Clay Center offered time, other pressures meant that he came for only an abbreviated session of two months; part of that involved sharing the resident space with LungChieh Lin and after Lin’s departure, sharing space with a baby crib, since his family accompanied him to Minnesota. Pintz’s wife, Kristen Martincic, is a printmaker and they have worked collaboratively in various ways. A few of the functional forms that he made on the side at NCC are embellished with simple markings she executes. Pintz might have spent his time at NCC simply making exhibition work, but an interesting project presented itself: he was invited to make tableware for “Steinbeisser’s Experimental Gastronomy.” This Amsterdam-based group engages well-known chefs cooking local food and
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Tools
Left to Right: Square shovel plate, Rectangular shovel plate, Spade shovel plate, Rounded shovel plate, 2017 earthenware 3” x 16” x 9” each
born 1950, Kalamazoo, Michigan
EDUCATION 2006: MFA, University of Minnesota –Twin Cities, Minneapolis, MN • 2001: BFA, Northern Michigan University, Marquette, MI SELECTED SOLO and TWO PERSON EXHIBITIONS 2018: Progress and Lamentations, Phipps Center for the Arts, Hudson, WI • 2015: Nicolas Darcourt: New Work, Waseca Art Center, Gallery L, Waseca, MN • Filtered: Nicolas Darcourt and Lois Peterson, Schaefer Art Gallery, Gustavus Adolphus College, Saint Peter, MN • 2009: Harp Overt, Myrna Loy Center for the Performing and Media Arts, Helena, MT • 2008: Monument, Balance, Circumstance, University Center Gallery, The University of Montana, Missoula, MT • 2007: Panoramic Fusion: Nicolas Darcourt and Jonathan Bridges, Northern Clay Center, Gallery A, Minneapolis, MN SELECTED GROUP EXHIBITIONS 2017: Beauty in Chaos, Squirrel Haus Arts Center, Minneapolis, MN, juried • 2016: Open Door 12, Rosalux Gallery Minneapolis, MN, juror: Andrea Carlson • Clay? VI, Kirkland Arts Center, Kirkland, WA, jurors: University of Washington ceramic faculty • Juried Ceramics Exhibition, regional exhibition in conjunction with NCECA 2016, Mulvane Art Museum, Topeka, KS, juror: Robert Harrison • 2015: River to River, regional exhibition in conjunction with Iowa Clay Conference, Coe College, Cedar Rapids, IA, juror: Bede Clark • Visions in Clay, LH Horton Jr. Gallery, Stockton, CA, juror: Lisa Reinertson • Aut Kem, in conjunction with NCECA, Cellar Door Projects, Providence, RI, invitational • Graphic Clay, Baltimore Clay Works, Baltimore, MD, juror: Jason Bige Burnett • 2014: 2014 Biennial, Minnetonka Center for the Arts, Minnetonka, MN, juried • Clay & Context: Contemporary Ceramics International Biennial, Swope Art Museum, Halcyon Art Gallery, Terra Haute, IN, juror: Ray Chen • 2013: Our Earth II, Flow Art Space, St. Paul, MN, juried • Adjunct Faculty Show, University of Minnesota, Regis Center for Art, Minneapolis, MN, invitational • 2012: 4th Biennial Concordia Continental Ceramics Competition, Concordia University, St. Paul, MN, juror: Sarah Millfelt • Clay EVV, The Arts Council of SW Indiana, Evansville, IN, jurors: Christyl Boger and Joseph Smith • 2010: Red Heat: Contemporary Work in
Clay, Alexander Hogue Gallery, University of Tulsa, Tulsa, OK, juror: Adrian Arleo • Jersey Shore Clay National, m.t. burton gallery, Surf City, NJ, juror: Mark Dean • Soda Salt National V, The Clay Studio of Missoula, Missoula, MT, juror: Julia Galloway • 2008: Archie Bray Residents: Present and Past, The Galaxie, Chicago, IL, invitational • 2007: 2007 Jingdezhen International Contemporary Ceramic Exhibition, Pottery Workshop, Jingdezhen, P.R. China, invitational • 2006: Below the 49th Parallel, The Label Gallery, Winnipeg, Manitoba, invitational SELECTED AWARDS 2016: McKnight Artist Fellowship for Ceramic Artists, Northern Clay Center, Minneapolis, MN • 2009: Artist Spotlight Grant, Myrna Loy Center for the Performing and Media Arts, Helena, MT SELECTED PUBLICATIONS 2015: “Abstraction in Action at Minnetonka Center for the Arts,” Sun Sailor (Minnetonka, MN), photo and caption of ceramic sculpture by Nicolas Darcourt, April 27. • 2009: “Harp Overt by Nicolas Darcourt,” featured in Upfront Exhibitions and Reviews, Ceramics Monthly, 57, no. 4: 22. • 2008: “Gallery Guide,” image, Ceramics Monthly, 56, no. 8: 74. • “Figurative Farewell”, Independent Record (Helena, MT), August 14. • 2007: 2007 China Jingdezhen International Contemporary Ceramic Exhibition, catalog, 151. • 2006: Donald Myers and Lois Peterson, “Clay Bodies by Student Bodies” Ceramics Monthly, 54, no. 9: 35–37. PROFESSIONAL EXPERIENCE 2013 – present: Lecturer, University of Minnesota, Twin Cities, MN • 2013: Guest Juror & Facilitator for Minnesota Scholastic Art Awards for Minnesota High School Students, awards sponsored by Art Educators of Minnesota • 2012 – present: Visiting Assistant Professor, Gustavus Adolphus College, Saint Peter, MN • 2007 – 2009: Artist-inResidence, The Archie Bray Foundation for the Ceramic Arts, Helena, MT
EDUCATION 1976 – 1978: MFA, Indiana University, Bloomington, IN • 1974 – 1976: MA, St. Cloud State University, St. Cloud, MN • 1970 – 1973: BA, Augsburg College, Minneapolis, MN SELECTED SOLO EXHIBITIONS 2011: Sheryl McRoberts, Giles Gallery, Eastern Kentucky University, Richmond, KY SELECTED GROUP EXHIBITIONS 2016 – 2011: WORK: Curse or Calling?, CIVA traveling exhibition, juried • 2012: 3rd Annual Exhibition of Contemporary Drawings, S. Tucker Cooke Gallery, University of North Carolina–Asheville, juror: Jerome Witkin • 2008: Space, Life, Place, Eastern Kentucky University, Richmond, KY • 2006: Arrowhead Biennial, Duluth Art Institute, Duluth, MN • 2004: Gigantic, Kirkland Arts Center, Kirkland, WA • 2002: Sculpture Exhibition, Minnesota Museum of American Art, St. Paul, MN • 2000 – 1999: Franconia Sculpture Park, Shafer, MN, juried installation • 1987: 41st Annual Sculpture Exhibition, Pen and Brush Inc. Gallery, New York, NY 1986 • A Question of Scale, Missoula Museum of the Arts, Missoula, MT SELECTED AWARDS AND COMMISSIONS 2016: McKnight Artist Fellowship for the Ceramic Arts, Northern Clay Center, Minneapolis, MN • 1998: Outdoor Sculpture Commission, Blandin Foundation, Austin, MN • 1995: Fulbright Travel Grant, Italy • 1993: Minnesota Percent for the Arts, sculpture commission, Fergus Falls Community College, Fergus Falls, MN • 1992: Private Commission, Norwest Bank Collection, Minneapolis, MN • Minnesota Percent for the Arts, sculpture commission, St. Cloud State University, St. Cloud, MN • Minnesota Vietnam War Memorial, subcontracted to model bronze eagle, St. Paul, MN • 1991: Minneapolis City of Lakes, Art Stop, Minneapolis, MN • 1989: Private Commission, Federal Reserve Bank, Minneapolis, MN
SELECTED PUBLICATIONS 2015: photograph in E. Michael Iba and Thomas L. Johnson’s The German Fairytale Landscape, 2nd edition, (Hameln, Germany: CW Niemeyer). • 2014: 500 Figures in Clay, Volume 2, ed. by Nan Smith, (New York, NY: Lark Crafts). • 2009: Contemporary Ceramics: An International Perspective by Emmanuel Cooper, (London, England: Thames & Hudson). • 2006: 500 Animals in Clay, ed. by Joe Bova, (New York, NY: Lark Crafts). • Ceramic Review, March/April • 2004: The Sculpture Reference Illustrated, by Arthur Williams, (Springfield, TN: Sculpture Books Publishing). PROFESSIONAL EXPERIENCE 2014 & 2010: Artist-in-Residence, Zentrum für Keramik–Berlin, Germany • 1989 – present: Drawing and Ceramics Instructor, Normandale Community College, Bloomington, MN
16 — 17
born 1978, Lima, Peru
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Sheryl McRoberts
Six McKnight Artists
Nicolas Darcourt
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2016 McKnight Fellowship Recipient:
Northern Clay Center
2016 McKnight Fellowship Recipient:
born in 1979, Taiwan
EDUCATION 1993: MFA, Louisiana State University, Baton Rouge, LA • 1989: BFA, Nova Scotia College of Art and Design, Halifax, Nova Scotia, Canada • 1987: Special Studies, Sheridan College of Applied Arts, Oakville, Ontario, Canada • 1986: Commercial Industrial Arts Diploma, George Brown College of Applied Arts, Toronto, Ontario, Canada SELECTED SOLO EXHIBITIONS 2017: A Place: Landscape, Memory, Belonging, Lane Community College Gallery, Eugene, OR • 2014: Kathryn Finnerty: Landscape, Schaller Gallery, Michigan • 2013: Kathryn Finnerty, Red Lodge Clay Center, Red Lodge, MT SELECTED GROUP EXHIBITIONS 2017: Low, Medium, High (NCECA), Mt. Hood Community College, Gresham, OR • Heat Transfer, Lane Community College Gallery, Eugene, OR • Oregon and Washington Ceramics Instructors Exhibition, Lane Community College Gallery, Eugene, OR • 2016: Lane Community College Faculty Exhibition, Eugene, OR • 2015: Primo Ceramics, Stewart-Kummer Gallery, Gualala, CA • Lane Community College Faculty Exhibition, Eugene, OR • 2014: Airport Exhibition, Mahlon Sweet Field Airport, Eugene, OR • 2012: Tea for Two, Santa Fe Clay, Santa Fe, NM • 2011: State of the Art: National BIennial Ceramics Exhibition, Parkland College Art Gallery, Champaign, IL • 2008: Yunomi Show, Akar Gallery, Iowa City, Iowa • Speaking Low: Surfaces in Earthenware, The Clay Studio, Philadelphia, PA • La Mesa, Santa Fe Clay at NCECA, Pittsburg, PA • Sip, Slurp, Gulp, Santa Fe Clay, Santa Fe, NM • Critters, StewartKummer Gallery, Gualala, CA • American Pottery Festival, Northern Clay Center, Minneapolis, MN • The Art of Surface: Decorated Earthenware, (All Fired Up Symposium), Westchester, NY SELECTED PUBLICATIONS 2013: American iPottery, digital publication, by Kevin Hluch, https://itunes.apple.com/us/book/american-ipottery/ id905569043?mt=11 • 2012: The Best of 500 Ceramics: Celebrating a Decade in Clay, (New York, NY: Lark Crafts).
• 2005: 500 Pitchers, edited by S.J. Tourtillott, (Asheville, NC: Lark Books). • 2004: Making Marks, Discovering the Ceramic Surface by Robin Hopper, (Westerville, OH: American Ceramic Society). • Sherman Hall, “Utilitarian Clay IV: Celebrate the Object,” Ceramics Monthly, 52, no. 9: 57 – 61. • 2002: 500 Teapots, edited by S.J. Tourtillott, (Asheville, NC: Lark Books). • 2001: Art of Contemporary American Pottery, by Kevin Hluch, (Iola, WI: Krause Publications).
EDUCATION 2011: MFA, Tainan National University of the Arts, Taiwan • 2001: BA, National Taipei University of Education, Taiwan
PROFESSIONAL EXPERIENCE 2009 – present: Faculty, Ceramics Department, Lane Community College, Eugene, OR • 2016: McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis, MN • Residency, Banff Center for Arts and Creativity, Banff, Alberta, Canada • 2013 – present: Kathryn Finnerty Pottery & Studio LLC, Eugene, OR • 2000 – 2012: Studio Potter/Owner, Pleasant Hill Pottery, Pleasant Hill, OR • 1997 – 2000: Associate Professor, University of Manitoba, Winnipeg, Manitoba • 1998: Visiting Lecturer, Ohio University, Athens, OH • Visiting Artist/Lecturer, The Ohio State University, Columbus, OH • 1997: Visiting Lecturer, University of Alaska, Fairbanks, Alaska • 1994 – 97: Ceramics Instructor, Red Deer College, Red Deer, AB, Canada • Ceramics Instructor, Calgary Board of Education, Calgary, AB • 1994 – 95: Sabbatical Lecturer, Alberta College of Art and Design, Calgary, AB • 1993 – 94: Visiting Artist/ Lecturer, Alberta College of Art and Design, Calgary, AB • 1991: Visiting Instructor, Nova Scotia College of Art & Design, Halifax, Nova Scotia
SELECTED GROUP EXHIBITIONS 2017: Infinite Forms: Contemporary Ceramics In Taiwan, Yingge Ceramics Museum, Taiwan • Pray: Cherishing Life, Yeoju World Ceramic Livingware Gallery, Yeoju, Korea • Impossible Apposition, Tainan Soka Art Center, Tainan, Taiwan • 2016: The Rising Show 2016, Dynasty Gallery, Taipei, Taiwan • Young Art Taipei 2016, Dynasty Gallery, Taipei, Taiwan • 2015: Formosa Art Show, Humble House, Taipei, Taiwan • The Association of Asian Contemporary Sculptors Exhibition, Fukuoka Museum of Art, Fukuoka, Japan • Different Contexts Ceramics Magical Journey, Nomad Museum, Taipei, Taiwan • Cross-Strait Ceramic Art Exhibition, Nanjing, China • Taiwan Teapot Exhibition 2, Jingdezhen, China • 2014: The 13th Taiwan Artist Fair, Taiwan • Asian New Generation: Contemporary Ceramic Exhibition, Clayarch Gimhae Museum, Korea • 2013: Originality Purity, Contemporary Craft Exhibition, Museum of National Taipei, Taiwan • Dream: Craft Exhibition, Office of the President Gallery, Taiwan • 2012: Joint Exhibition for Selected Taiwanese Submissions in International Craft and Design Competitions, Contemporary Craft and Design Gallery, Taipei, Taiwan • 2011: Tooling, Object Exhibition, North Gallery, Tainan, Taiwan • Ceramistas de Taiwan, Escuela de Arte de Talavera de la Reina, Talavera, Spain • Shuki Exhibition, Yido Gallery, Seoul, Korea
SELECTED SOLO EXHIBITIONS 2014: The Recoded Realm, Frees Art Space, Taipei, Taiwan • 2011: Micro-Plexus Dwelling, North Gallery, Tainan, Taiwan • 2010: Being, Compass-5 Gallery, Columbia, SC
SELECTED AWARDS 2017: Next Art Tainan 2017 Award, Taiwan • 2016: McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis, MN • 2015: Silver Prize, The 2nd New Taipei City Ceramic Competition, Taiwan • Special Judges’ Award, The 7th Taiwan Golden Ceramics Award, Taiwan • 2013: Young Ceramic Artist Award, The 1st Taiwan Young Ceramic Artist Biennale, Taiwan SELECTED COLLECTIONS Bolesławiec Centre, International Centre of Ceramics, Poland • Hocheng Cultural and Educational Foundation, Taiwan • Miaoli County Government, Taiwan Inc., Taiwan • New Taipei City Yingge Ceramics Museum, Taiwan • Taichung City Seaport Art Center, Taiwan PROFESSIONAL EXPERIENCE 2015: Invited Artist, The 51st International Ceramic and Sculpture Symposium, Boleslawiec, Poland • 2014: Invited Artist, Muscat Festival, Sultanate of Oman • 2012: Resident Artist, Guldagergaard International Ceramic Research Center, Denmark • 2011: Resident Artist, Escuela de Arte de Talavera de la Reina, Talavera, Spain
18 — 19
born 1959, Toronto, Canada
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Lung-Chieh Lin
Six McKnight Artists
Kathryn Finnerty
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2015 McKnight Residency Recipient:
Northern Clay Center
2015 McKnight Residency Recipient:
born in the Year of the Boar, San Diego, California
born 1974, Chicago, Illinois
SELECTED SOLO and TWO PERSON EXHIBITIONS 2015: Propagation, Valley City State University Gallery, Valley City, ND • 2014: In Bloom, California Building Gallery, Minneapolis, MN • 2011: Coevolution, Nicolaysen Art Museum, Casper, WY • 2006: Helen Otterson: Halvorsen Artist-in-Residence, Contemporary Craft Museum & Gallery, Portland, OR • 2005: Helen Otterson & Bonnie Seeman, Giles Gallery, Eastern Kentucky University, Richmond, KY SELECTED GROUP EXHIBITIONS 2017: Tropes of Nature (NCECA), Roger and Mildred Minthorne Gallery, George Fox University, Newberg, OR, juried • Ceramic Innovations, Wayne Art Center, Wayne, PA, juried • Materials: Hard + Soft: International Contemporary Craft Competition and Exhibition, Patterson-Appleton Arts Center, Denton, TX • Decadence of Display: Ceramics for Dessert, Whitaker Gallery, Hood College, Frederick, MD • 2016: Biomorphic, American Museum of Ceramic Arts, Pomona, CA • Bloom, Celadon Gallery, Hampton Bays, NY • Shape of Influence Contemporary Ceramics, M.G. Nelson Family Gallery, Springfield Art Association, Springfield, IL • 40 Greatest Hits: Celebrating the Museum’s Permanent Collection, Plains Art Museum, Fargo, ND • Maker Moxie: The Impact of the Craft School Experience, Peters Valley Gallery, Layton, NJ • Mulvane Art Museum Juried Ceramics Exhibition (NCECA), Mulvane Art Museum, Topeka, KS, juried • Role Models, (NCECA), Belger Arts Center, Kansas City, MO, invitational • Gyorgy’s Life Changing Hungarian Adventure: Special Artists Use a Special Material at the ICS (NCECA), The Drugstore, Kansas City, MO, invitational • 2015: 35th Anniversary Show, Baltimore Clayworks, Baltimore, MD • Workhouse Clay National 2015, Workhouse Arts Center, Lorton, VA • 56th Midwestern Invitational: From the Earth to the Moon, Rourke Art Gallery & Museum, Moorhead, MN • Greenscapes: Of/In/From the Garden, Clay Art Center,
Port Chester, NY • 2014: Zanesville Prize for Contemporary Ceramics, Muskingum County Community Foundation, Zanesville, OH • In Full Bloom, Baltimore Clayworks, Baltimore, MD • 2013: 54th Midwestern Invitational Art Exhibit: Signed. Sealed. Delivered., Rourke Art Gallery & Museum, Moorhead, MN • 34th Annual Contemporary Crafts, Mesa Art Center, Mesa, AZ • ACGA National Clay & Glass Exhibition, City of Brea Art Gallery, Brea, CA SELECTED COLLECTIONS Moore Cancer Center, University of California, San Diego • Mulvane Art Museum, Topeka, KS • Nicolaysen Art Museum, Casper, WY • The Plains Art Museum, Fargo, ND • Swidler Collection, Crocker Art Museum, Sacramento, CA • University of Tasmania Print Collection, Australia PROFESSIONAL EXPERIENCE 2017: Assistant Professor, Morehead State University, Morehead, KY • 2016: Artist-in-Residence, Zentrum fur Keramik, Berlin, Germany • 2015: “Beginning Cast Glass” workshop instructor, Arrowmont School of Arts & Crafts, Gatlinburg, TN • 2014 & 2012: Artist-in-Residence, International Ceramic Studio, Kecskemet, Hungary • 2012 – 2014: Assistant Professor, University of North Dakota, Grand Forks • 2007 – 2011: Chair, Ceramics Department, Armory Art Center, West Palm Beach, FL SELECTED PUBLICATIONS 2017: Cast: Art and Objects Made Using Humanity’s Most Transformational Process by Jen Townsend and Renée Zettle-Sterling, (Atglen, PA: Schiffer Publishing). • 2009: 500 Sculptures: Contemporary Practice, Singular Works, (Ashville, NC: Lark Books), 179.
EDUCATION 2006: MFA, University of Nebraska-Lincoln, NE • 2000 – 2002: Post-baccalaureate studies, Southern Illinois University-Edwardsville, Edwardsville, IL • 1996: BA, Northwestern University, Evanston, IL
2015: Research Council Grant, University of Missouri • 2011: Individual Excellence Award, Ohio Arts Council, Columbus, OH • 2009: Emerging Artist Award, National Council on Education for the Ceramic Arts • Edith Franklin Grant, Toledo Community Foundation, Toledo, OH
SELECTED SOLO EXHIBITIONS 2017: Joseph Pintz, Morean Arts Center, St. Petersburg, FL • 2014: Useful & Useless, Roswell Museum & Art Center, Roswell, NM • Focus: Joseph Pintz, Penland Gallery, Penland, NC • 2013: Cultivate, University of Nebraska-Omaha, Omaha, NE • 2010: Collected, Museum of Contemporary Craft, Portland, OR
GALLERY REPRESENTATION The Clay Studio, Philadelphia, PA • Freehand, Los Angeles, CA • Penland Gallery, Penland, NC • Red Lodge Clay Center, Red Lodge, MT
SELECTED GROUP EXHIBITIONS 2017: Revisit: The Boneyard, Clay Art Center, Port Chester, NY • 2016: VisionMakers 2016, 108 | Contemporary, Tulsa, OK • Hearth, The Clay Studio, Philadelphia, PA • Last Chance, Turman Larison Contemporary, Helena, MT • Steinbeisser’s Experimental Gastronomy, Montalvo Arts Center, Saratoga, CA • The Clay Studio Exhibition at NCECA Conference, Kansas City, MO • Maximum Craft, Signature Contemporary, Atlanta, GA • 2015: Of Substance & Style, The Clay Studio, Philadelphia, PA • Calibrating Color, Cohen Gallery, Alfred University, Alfred, NY • Pursuit of Craft, Maryland Hall for the Creative Arts, Annapolis, MD • 2014: Souvenirs From the Future, Lawrence Art Center, Lawrence, KS • American Teabowl, Studio Kotokoto, San Diego, CA • Zanesville Ceramic Prize, Seilers’ Gallery, Zanesville, OH • Designed + Crafted Atlanta, Signature Contemporary Craft, Atlanta, GA • 2013: The Geography of Waiting, University Museum, Groningen, The Netherlands • NCECA Biennial 2013, Houston Center for Contemporary Craft, Houston, TX • 2008: TransCultural Exchange Tile Project, Chang Hai International, Beijing, China SELECTED AWARDS 2017: Research Board Grant, University of Missouri, Columbia, MO • 2016: McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis, MN •
SELECTED COLLECTIONS Anderson Museum of Contemporary Art, Roswell, NM • Archie Bray Foundation for the Ceramic Arts, Helena, MT • Cedar Rapids Museum of Art, Cedar Rapids, IA • Museum of Contemporary Craft, Portland, OR • Nora Eccles Harrison Museum of Art, Utah State University, Logan, UT
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EDUCATION 2003: MFA, University of Miami, Miami, FL • 1997: BFA, Kansas City Art Institute, Kansas City, MO • 1993: BA, Skidmore College, Saratoga Springs, NY
20 — 21
Joseph Pintz
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Helen Otterson
Six McKnight Artists
2015 McKnight Residency Recipient:
PROFESSIONAL EXPERIENCE 2013 – 2014: Resident Artist, Roswell Artist-in-Residence Program, Roswell, NM • 2011 – present: Assistant Professor of Art, University of Missouri, Columbia, MO • 2007 – 2011: Instructor, Bowling Green State University, Bowling Green, OH • 2006 – 2007: Resident Artist, Archie Bray Foundation for the Ceramic Arts, Helena, MT • 2003: Instructor, Edwardsville Art Center, Edwardsville, IL • 1999 – 2000: Instructor, Evanston Art Center, Evanston, IL SELECTED PUBLICATIONS 2017: “Experimental Gastronomy: Merging Art & Food,” by Kristin Conard, Edible Silicon Valley, 17: 16–21. • 2016: “Elemental Objects,” Illumination, Spring/Summer: 16–21. • 2015: “House of Tales,” by Caitlin McCoy, American Craft, 75, no. 1: 44. • “From Clay To Table: Experimentation on Display,” by Melissa Kuntz, The Chautauquan Daily, 7/ 20: 9. • 2014: “In the Spotlight,” by Rey Berrones, Vision Magazine, 21, no. 4: 13–14.
Northern Clay Center
2015 McKnight Residency Recipient:
The McKnight Foundation Past Recipients
Program Strategies We fund organizations that are mission-driven to support working artists, with capacity and systems in place to develop and share their work. We support select programs and projects to fuel exceptional and diverse artistic practice. We leverage local and national collaborations, knowledge, and policies that maximize the value of artists' work in their communities.
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
2012 F Brian Boldon F Ursula Hargens R Pattie Chalmers R Haejung Lee R Ann-Charlotte Ohlsson R Nick Renshaw
2003 F Chuck Aydlett F Mary Roettger R Miriam Bloom R David S. East R Ting-Ju Shao R Kurt 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
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 Arcˇikauskas 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
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
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
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1998 F Judith Meyers Altobell F Jeffrey Oestreich R Andrea Leila Denecke R Eiko Kishi R Deborah Sigel
2007 F Mike Norman F Joseph Kress R Greg Crowe R John Lambert R Lee Love R Alyssa Wood
Six McKnight Artists
Arts Program Goal Minnesota thrives when its artists thrive. The McKnight Foundation supports working artists to create and contribute to vibrant communities.
2002 F Maren Kloppmann F Keisuke Mizuno R William Brouillard R Kirk Mangus R Tom Towater R Sandra Westley
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1997 F Linda Christianson F Matthew Metz R Marina Kuchinski R George Pearlman
Northern Clay Center
The McKnight Foundation, a Minnesota-based family foundation, seeks to improve the quality of life for present and future generations. Through grantmaking, collaboration, and strategic policy reform, we use our resources to attend, unite, and empower those we serve.
22 — 23
F Fellowship Recipient R Residency Recipient
Northern Clay Center
Northern Clay Center’s mission is the advancement of the ceramic arts. Its goals are to promote excellence in the work of clay artists, to provide educational opportunities for artists and the community, and to encourage the public’s appreciation and understanding of the ceramic arts. Staff Sarah Millfelt, Executive Director Tippy Maurant, Director of Galleries & Special Events Brady McLearen, Exhibitions Assistant Jill Foote-Hutton, Director of Learning and Engagement Board of Directors Craig Bishop, Chair Mary K Baumann, Vice-Chair Brad Meier, Treasurer Heather Nameth Bren, Secretary Bryan Anderson Nan Arundel Lann Briel Robert Briscoe Philip Burke Linda Coffey Sydney Crowder Nancy Hanily-Dolan Bonita Hill, M.D. Christopher Jozwiak Patrick Kennedy Alan Naylor Rick Scott Paul Vahle Honorary Directors Kay Erickson Warren MacKenzie Legacy Directors Andy Boss Joan Mondale Director Emerita Emily Galusha
2424 Franklin Avenue East Minneapolis, Minnesota 55406 612.339.8007 www.northernclaycenter.org