ACGA News

ACGA Board Meeting Minutes (March 2024)

ACGA Board Meeting Minutes

Monday, March 18, 2024 via Zoom

Present: Mari Emori, Chris Johnson, April Zilber, Sally Jackson (recorder), Vicki Gunter, Barbara Prodaniuk, Emil Yanos, Ren Lee, Tamara Danoyan, Julie Taber, Susie Rubenstein, Jan Schachter, Sonja Hinrichsen, Scott Jennings, Iver Hennig, Lee Middleman   Absent:  Trudy Chiddix, Cheryl Costantini   Guest: Guangzhen “Po” Zhou

The meeting began at 5:15 pm.

 

Welcome (Mari)

Several board members have received phishing emails that appear to be from Mari, but are actually scams.  Check the email address carefully; do not respond if the address is not Mari’s usual email.

Mari has asked Susie to be our website liaison, replacing Emil, who is now working on graphics and other projects.  Send your website questions to Susie.

International Ambassador Candidates (Mari)

Longtime ACGA members Lee Middleman and Guangzhen Zhou spoke about their enthusiasm for traveling, meeting, and working with other ceramic artists around the world. They are active members of the International Academy of Ceramics (IAC) and both expressed their willingness to serve as international ambassadors. This role was filled for many years by ACGA member Barbara Brown. The Board passed a motion to appoint Lee and Guangzhen as International Ambassadors (ayes: 15, abstain: 1). They will continue Barbara Brown’s legacy of inviting and hosting international artists here and arranging visits, exchanges, and events in other countries.

Exhibitions Report

Santa Cruz: Iver continues to explore exhibition opportunities in Santa Cruz.  Plans for a show this year at MK Contemporary are currently on hold as we consider timing and budget considerations. Iver is looking into possibilities at other galleries. He and Jan are also working on a proposal for a show two years from now at the Santa Cruz Museum of Art and History.

Fresno: Ren reported that the October show in Fresno will be announced soon via a call for entries.  The call will be open to members of ACGA, the San Joaquin Clay & Glass Association, and members of Clay Hand Studios, which is hosting the exhibition.

Treasurer’s Report (Julie)

Presentation of February Financial Package: Total assets as of February 29 were $140,027.  An unusually large portion is in our PayPal account because of incoming festival booth fees.

Un-Budgeted Expenses: Julie proposed that unbudgeted expenses over $1000 should be approved by the Board before the money could be spent. After discussing the dollar amount, the Board voted unanimously that unbudgeted expenses of $500 or more require prior approval via Board Member vote (ayes: 16).

Moving Funds from one Institution to Another: Julie asked for the Board to require her to get Board approval to (1) transfer funds of $2500 or more between banking institutions where ACGA has accounts, and (2) make a one-time transfer of $28,000 from PayPal to our Bank of America accounts. Both motions passed unanimously (ayes: 16).

Request to purchase Quickbooks Online: Julie proposed that ACGA purchase Quickbooks Online to facilitate bookkeeping. A motion to do so passed unanimously (ayes: 16)

Proposal for Bookkeeper & Stipend for General Treasurer & Festival Treasurer (Mari)

            Mari proposed that it would be more cost-effective if Julie takes over as bookkeeper, rather than paying an outside bookkeeper each month. She also proposed paying Julie $300/month as General Treasurer/Bookkeeper, paying April $220/month for 8 months annually as Festival Treasurer, and paying $940/year for Quickbooks Online. Julie and April were in a breakout room during the discussion, and the Board agreed with and approved Mari’s proposals (ayes 14, abstentions 2 (April and Julie)).

 

Festival Update (April)

To date, 110 artists have signed up for the festival. April is confident that eventually we’ll have around 120 artists in total. She is working on a few hiccups with PayPal booth fee payments and GoogleDrive photo uploads.  She is seeking a new publicist/media consultant, as Kathy Maag has recently bowed out.  April is also gathering data on what combination of kiosks, banners, and other signage we can afford to add to the festival this year.

 

The meeting adjourned at 6:48 pm.

Date of Next Meeting: Monday, April 15, 2024, 5:15pm via Zoom

By |2024-04-09T19:03:09-07:00April 9th, 2024|ACGA News|Comments Off on ACGA Board Meeting Minutes (March 2024)

(a) wake: a stream of ideas

(a) wake:  a stream of ideas

Select work by Emil Yanos

Now through April 27, 2024

O’Hanlon Center for the Arts

616 Throckmorton Avenue, Mill Valley, CA

 

The collection I’m showing here contains work that spans approximately 30 years—the time I’ve been exploring and working in ceramics.  This body of work represents multiple levels in my own personal development.  It is connected by interwoven design motifs, processes, and the evolution of ideas.  I’ve chosen these pieces to reference the varied common themes that I have explored, which are brought together by inspiration, energy, technique, and color.

By |2024-04-09T11:13:28-07:00April 9th, 2024|ACGA News|Comments Off on (a) wake: a stream of ideas

Mari Emori Wins Solo Show Award at Blue Line Arts

Blue Line Arts, based in Roseville, California, hosted its annual fundraising exhibition and event, Lottery for the Arts, in March. Mari Emori’s ceramic sculpture, “Silent Plea,” was awarded the Solo Show Award by juror Kelly Lindner, Art Galleries and Collections Curator at CSU Sacramento. This will be Mari’s first solo show, scheduled for 2025. Stay tuned! @bluelinearts
 
“Silent Plea” 
16″H x 10″W x 10″D
2023

“My Water Drop Series symbolizes life and our symbiotic relationship with our environment. It embodies our profound reliance on water, both physically and spiritually. Drawing inspiration from the urgent challenges of global warming and other human provoked environmental crises, Silent Plea depicts a desiccated teardrop from Mother Nature, urging us to be responsible stewards of our environment.”

—Mari Emori @emoriceramics

By |2024-04-07T16:50:01-07:00April 7th, 2024|ACGA News|Comments Off on Mari Emori Wins Solo Show Award at Blue Line Arts

Lee Middleman’s Spring Open Studio

Lee will be hosting his annual Spring Open Studio in Portola Valley on Saturday and Sunday, May 4 & 5, 2024 from 10am to 5pm. The Open Studio takes place at Lee’s studio and gallery at 16 Coalmine View, Portola Valley.

Lee will be presenting his recent work using crater-like glazes that he developed recently. He will of course be displaying his “classic” pieces as well. Come visit.

Lee’s gallery is also open by appointment. Just call Lee at 650-851-0295

By |2024-03-29T10:49:40-07:00March 29th, 2024|ACGA News|Comments Off on Lee Middleman’s Spring Open Studio

Feats of Clay

CALL TO ARTISTS
“Feats of Clay 2024 Regional Competition”

SUBMISSION DETAILS

The Art League of Lincoln is rekindling the FEATS OF CLAY Art Show and Competition in West Placer County, CA. The show legacy celebrates the rich history in clay competitions and was formerly held at Gladding McBean Clay Manufacturing Company in Lincoln, CA. The 2024 Feats of Clay Competition will be a regional competition, with hopes to expand in future years. The Feats of Clay 2024 Regional ceramic competition will be showcased at the 580 Sixth St. Lincoln California art gallery location inside a replica bee hive kiln from June 13 to July 7, 2024.

We are delighted to have renowned ceramicist and ACGA Member Linda Fitz Gibbon jurying our exhibit. Born in New York, Fitz Gibbon has lived over 30 years in Northern CA. Artist residencies include Anderson Ranch Art Center and Vermont Studio Center. A dedicated community arts educator, Fitz Gibbon is an Art Professor at Cosumnes River College, Sacramento and also serves as Teaching Artist in Yolo County K-12 schools. Her work is in the collection of five museums.

All artwork submitted must be gallery ready to install, and if wall art, inclusive of integral wire installed for hanging. Work that is not for sale may be submitted. The Art League will provide pedestals.

There will be $5,000 in cash prizes awarded for 1st, 2nd, and 3rd place winners, Honorable Mentions, a People’s Choice Award and multiple merit and purchase awards.

Up to three pieces of artwork may be submitted for consideration. Entry fee is $40 for up to 3 pieces. Members receive a 70/30 commission split (70% to the artist), and Non-Members receive 60/40 (60% to the artist).

TIMELINE OF EXHIBIT

  • ENTRY DEADLINE: Entry application and payment must be received by Saturday, June 1st.
  • NOTIFICATION OF ACCEPTED ART: Artists will be emailed acceptance notices no later than June 6th.
  • ART DELIVERY: All artwork must be submitted in person on Sunday, June 9th 12pm-3pm orMonday June 10th between 12:00–3:00 p.m. to The Art League of Lincoln, 580 Sixth Street, Lincoln, CA 95648.
  • EXHIBIT DATES: The show will be on exhibit at the June 13th – July 7th at the 6th Street Gallery inside the Art Center at 580 Sixth Street, Lincoln, CA, 95648. The Art League is open Thursday- Sunday 11:00am-3:00p
  • RECEPTION: Friday June 14th from 7:00-8:30pm (VIP First look preview June 14th from 6:00- 7:00pm)
  • AWARDS: $5,000 in cash prizes will be awarded, including 1st, 2nd, 3rd, Honorable Mentions, People’s Choice, and multiple purchase and merit awards.
  • PICK UP ART: Artwork may be picked up from 3pm-5pm on Sunday July 7th or on Monday, July 8th from 3:00 to 6:00 p.m.Art League of Lincoln requests that if you are unable to pick up your artwork during the allotted times, that you make arrangements to have it picked up for you.

    Call to Artists Art League of Lincoln 
    Apply Here

By |2024-03-29T10:05:59-07:00March 29th, 2024|ACGA News|Comments Off on Feats of Clay

Off Center 2024 – An International Ceramics Competition

 It’s Okay To Be A Wild Flower —  New Era Series

All people who identify as women should be able to love and celebrate whomever brings out their joyous wild side. 

This sculpture is also literally about our California wildflowers. In this case a native Wild Iris is in the womb, protected and embraced. Our wild plants, animals and we, are an interdependent web of wildlife. 

I began this piece as an older woman’s wild celebration, of still loving life, sex, family and creating art. And, I saw it as a defiant gesture! While working on this piece Roe v. Wade was being challenged! And then, I was personally challenged by a potential uterine cancer scare. So, the piece became therapeutic. No, I don’t have uterine cancer. Again, it became a celebration, but sober, thinking of all the loved ones who haven’t been so lucky. 

Her body’s vessel holds a wildly joyous bouquet made up of a lightning bolt of energy, the moon mirroring the womb, her eye “seeing” you the stars and everything in the universe as entwined. The Okay gesture (NOT a reference to white power) says it is Okay to be a “lowly wild flower” a “wild” woman, I’m going to be Okay, and the determination that all women will prevail in the control of their own bodies. 

And it’s Okay to foment the wild notion of changing this system we are struggling to live under. A system that does harm to any life deemed in the way of profit. Evolution, is about adapting and changing. Let’s embrace the wild side and do that!

By |2024-03-29T10:05:22-07:00March 29th, 2024|ACGA News|Comments Off on Off Center 2024 – An International Ceramics Competition

Women’s Work Exhibition at the Pence Gallery

Women artists have long used humor and satire to critique the unequal treatment of women, in areas
from reproductive rights to their depiction in the media. Women’s Work is a sampling of contemporary
sculpture and paintings by thirteen artists who redefine gender and femininity through their art.

Exhibiting artists include ACGA member Linda S Fitz Gibbon and Chaitra Bangalore, Suzanne M. Long, Sue Bradford, Emma Luna, Shenny Cruces, Shonna McDaniels, Lisa Reinertson, lanna Nova Frisby, Nancy Selvin, Julianne Wallace Sterling, Shalene Valenzuela, and Amy Vidra.

Linda S Fitz Gibbon, Legs Up, 2023. 16″ x 11″ x 9″

By |2024-03-29T10:04:55-07:00March 29th, 2024|ACGA News|Comments Off on Women’s Work Exhibition at the Pence Gallery

Sustainability at Cobb Mountain Art & Ecology Project

Flame:

CMAEP hosts six to ten woodfire workshops annually. Abundant fuel sources along with lots of labor are key factors to maintaining these educational wood-firing experiences. Resident Artists work closely with Scott to manage wood harvesting, processing and assist with firing workshops.

Woodfire Resident Lucas Shick:

“It’s been so beautiful seeing the life cycle

and doing fire mitigation. I really enjoy the time

spent in the forest as a community collecting that wood and having a more intimate relationship with the fuel…”

Quantity of wood required varies depending on which kiln(s) are being fired. The largest kiln, the Anagama, is fired about twice a year. Those workshops include ten days of firing, and consume thirteen cords of hard and soft wood in the process.

Woodfire Resident Dexter Gardner:

“It gives me respect for people working

in the firewood trade. It is a lot of labor to source

all of your own wood for a 10 day firing.”

Workshops connect CMAEP to the larger regional ceramics community and foster a learning environment for workshop participants and Resident Artists.

Tending to burn pile of brush during ecology management work at CMAEP.

Embers:

All Resident Artists live on-site and working on the land at CMAEP offers a unique experience unlike any other ceramics residency experience.

Scott Parady:

“I hope that working with residents on the land

gives them experience and a greater appreciation

of what it can mean to steward a property.

For me it creates a great appreciation for the land

and human interaction with it, which has become

a guiding force in my artwork.”

The reasons artists might be drawn to spend time at CMAEP are varied and there are several residency formats including short and long term options.

Dexter Gardner:

“I saw it as a great opportunity to gain

more woodfire knowledge, and to focus on

developing work suited to woodfiring.”

By |2024-03-29T12:05:33-07:00March 11th, 2024|ACGA News|Comments Off on Sustainability at Cobb Mountain Art & Ecology Project

ACGA INTERVIEW: MALIA LANDIS

ACGA Where were you born and raised? Thinking back, would you say that art was part of your upbringing?

I was born and raised tromping through the hills of St. Helena, California and exploring the diverse terrain and warm waters of the Big Island of Hawaii.  While being creative was a huge part of my childhood, harvesting and collecting while being outdoors were what interested me most.  I loved to gather stones and acorns, sticks and moss, shells and flowers, and display them lovingly, each a cherished prize.  These collections were my own personal cabinets of curiosity that I cherished and marveled at, pondering the natural beauty of the world.  Now I find myself making these things out of clay, attempting to capture a fleeting moment or phase in time.

ACGA When did you start working with clay? Tell us a bit about your journey with your craft.

While having first experienced working with clay in high school, it was not until undergraduate school at Humboldt State University that I fell in love with ceramics.  I had started as a Botany major with an Art minor, but quickly found myself spending all my time at the ceramics studio fascinated with the possibilities of the medium.  I soon changed my major and began to really focus on developing several bodies of work, one being more production based and the other conceptual.  I enjoy this back and forth balance between a meditative reproduction alongside intense detail orientated sculpting. I continued to explore both bodies of work throughout graduate school at San Jose State University, where I discovered how to incorporate screen printing onto my ceramics wares.  I have continued to work as a full-time studio artist, now living in Mendocino County of Northern California, producing my screen printed utilitarian wares under my business name, Salt and Earth, while designing

and creating one of a kind porcelain paper clay sculptures

for private clients and gallery exhibitions.

ACGA Are there things about your techniques that are unique to your process?

My wheel thrown and handbuildt functional wares are all decorated with screen printed map design and then hand painted with gold luster.  I print and apply all of the mason stain screenprints myself, and love the imperfections translated throughout this process.  I use mid range Laguna Frost Porcelain for my paperclay floral and fauna sculptures, and fire to cone 7-8.

ACGA You have two distinct bodies of work. How do you balance the investigation for each and where to exhibit each?

While finding a seasonal exhibition rhythm can be different every year, I often work on both bodies of work simultaneously and love the back and forth each demands.  I like to teach workshops in the Spring focused on my porcelain paperclay botanicals, then shift gears to stock up for the Clay and Glass Festival in Palo Alto for the summer.  The Fall tends to be when I work mostly on groupings of works for my gallery exhibitions and commissions.  Currently in the day to day I am focused working on commissions, which has been very fun and rewarding.

ACGA Clay and glass are physically demanding disciplines. How do you maintain your health?

Besides the help of my personal trainers, my son Bodin (5) and daughter Stella (3) to keep me in shape, I make sure to take time to be in nature everyday.  If I am able to just escape for a short walk around our property or afford a long hike in the hills, being active in nature is still the driving force for inspiration in my work and helps me recalibrate when needed.  I also have found throwing on the wheel standing up has helped my lower back flare ups and I have a silly looking but very functional yoga ball chair at my studio desk.

ACGA Is there one person or event that significantly inspired you?

My source of inspiration naturally is based on home and place. I find so much wonder in the world around me and the uniqueness that is in the here and now, ever grateful for the opportunity to exist among it all.

ACGA What is one thing that would surprise us to know about you?

I am in a band!  We are called the Coyotes, and while only a few years together as a band, we eat together, all sleep under the same roof, and just can’t get enough of one another.  I usually am on some sort of percussion instrument, Bodin plays guitar, Stella loves to rock a keyboard and rattle simultaneously, and my husband, Wesley Wright, leads us all on his ukulele.

By |2024-03-10T18:45:30-07:00March 10th, 2024|ACGA News|Comments Off on ACGA INTERVIEW: MALIA LANDIS

The 6000 Circle Project

THE 6000 CIRCLE PROJECT
A Collaborative Exhibition Honoring the Divine Feminine

February 24 – April 6, 2024

Project Gallery at Arc Gallery
1246 Folsom Street, San Francisco, CA 94103
Curatorial Tour & Artist Discussion at Arc Project Gallery: Sunday, March 17, 1:30 – 3:30pm

In collaboration with The Calling (Artists Yasmin Lambie-Simpson, Chantelle Goldthwaite, and Sheila Metcalf-Tobin), everyone is invited to participate in the international art initiative, The 6000 Circle Project. The project focuses on the circle as a symbol of balance and unity, a never-ending container of feminine energy and light. The Calling envisions 6000 circles created by a multitude of artists from around the globe. Circles created by NCWCA members and the public will be exhibited in the Arc Project Gallery from February 24 through April 6, 2024. NCWCA is the first WCA chapter to kick off this global 2024 exhibition.

Artist Vicki Gunter at the opening reception with her piece: Mile 91- Buttercups @ Bampton- 165 to go!  
Clay, Underglaze, Stains, Glaze 18 x 18 x 3.5 inches.
My life-long friend, Carol invited me to join her on this amazing 256 mile adventure hiking coast to coast in Northern England. We did it in 2015!

By |2024-03-07T13:27:42-08:00March 7th, 2024|ACGA News|Comments Off on The 6000 Circle Project

THE BEAUTY OF PURPOSE: 
A Functional Ceramics Show

Sebastopol Center for the Arts

282 S. High Street, Sebastopol, CA 95472

MARCH 2 – 31, 2024

Opening Reception: Saturday, March 2, 2-4pm

Juror: Cheryl Costantini

Handmade ceramic works, showing excellence in technique, 

including innovative and traditional explorations of clay. 

The blind jury resulted in several ACGA members including:  Ian Bassett, Suki Diamond, Ruth Ehrenkrantz, Geraldine Ganun, Rebecca Love, Loren Lukens, Vince Montague, Kathy Pallie, Jan Schachter, Karen Winograde, Lynn Wood, Melissa Woodburn, Emil Yanos

By |2024-03-07T12:03:37-08:00March 7th, 2024|ACGA News|Comments Off on THE BEAUTY OF PURPOSE: 
A Functional Ceramics Show

ACGA Board Meeting Minutes – February 19, 2024

Present: Mari Emori, Chris Johnson, April Zilber, Julie Taber, Sally Jackson, Jan Schachter, Ren Lee, Lee Middleman, Barbara Prodaniuk, Trudy Chiddix, Emil Yanos, Iver Hennig, Susie Rubenstein, Cheryl Costantini, Scott Jennings, Tamara Danoyan   Absent: Sonja Hinrichsen, Vicki Gunter

The meeting began at 5:15 pm

Welcome (Mari): Review of All-Member Meeting

Mari thanked everyone for attending the All-Member meeting on January 20 and asked for feedback. Suggestions for future all-member meetings include the following: 1) have an activity that engages attendees by asking them to do something creative or state their thoughts on topics at hand, 2) arrange break-out rooms on Zoom to discuss particular topics or goals, and 3) make the meeting more fun, participatory and entertaining, with committee reports sent out separately ahead of time.

Board of Directors Directory 2024 (Mari)

Mari has updated the Board of Directors Directory.  Those Board members not assigned particular roles should let her know what area interests them.  Mari would like to create the new position of Volunteer Coordinator to interact with members volunteering outside of the Clay and Glass Festival.  Also, we need someone to take over as ACGA’s historian.

Festival Report (April)

ACGA’s contract with Messenger Events is signed. Our contract with the City of Palo Alto lacks only the Certificate of Insurance.  April is talking to Kathy Maag about the scope of her publicity work. The application for festival booths went out in an email last week.  The deadline to apply is March 15 and Board members will get priority for booth location if they apply by February 27. The map is being reconfigured to accommodate more booths. This year, images submitted by festival artists and other booth applicants will go to a shared GoogleDrive folder.  Ren will have access to these images for social media posts and other promotions.  Joe Battiato will once again coordinate demos at the festival; a sign-up is included in the festival application. Susie Rubenstein will revise our post-festival artists’ survey. Sandy Feder will recruit high school students who can help with set-up and take-down. The committee is considering buying 3-4 portable, folding kiosks to be staffed by volunteers who will welcome visitors at the festival and tell them what’s happening, when, and where. The Board did not decide whether to approve this unbudgeted expense.  April would like to mentor a new Festival Liaison who will shadow her this year.

Combine Membership Renewal & Festival Application (Cheryl)

Cheryl proposes streamlining the process of membership renewal by combining it with festival registration, presumably in January each year.  This could work well for festival artists but must be arranged in a way that doesn’t make non-festival artists and other members seem less important. Also, it would be important to accommodate people who want to apply for membership at other times of the year.  Julie, Emil, April, and Cheryl will meet to discuss this idea and see if it’s a possibility for next year.

Membership (Emil)

Membership sign-ups spike predictably in January and February. Emil proposes getting rid of the late fee and suggests that we shift to join-date-anniversary for renewals. The Board needs more time to decide about this, especially given Cheryl’s proposal to combine renewal with festival application.

The website issues that plagued this year’s renewal process appear to be fixed. The Board discussed whether the auto-renew feature hinders or helps in terms of membership numbers.  During this year’s problematic renewal process, Emil received unkind, occasionally abusive emails slamming him and the ACGA. He and Sally Jackson will work on a Code of Ethics that will be sent in response to such emails. We will also prepare a letter that expresses the Board’s disapproval of harassment and inappropriate language. In some cases, a phone conversation with the Board President is also called for.

The Board discussed festival artists who propose adding someone to their practice and registering as collaborative. One important question is whether the additional artist should be required to jury in. This topic will be addressed in more detail at our next meeting.

Emil emphasized that we need a plan for increasing sponsorship or donations. Donors should be aware that their donations are not tax-deductible.

Treasurer’s Report (Julie)

As of January 31, our total assets were $117,698. Julie is now an authorized user for our Bank of America account.  Julie and Sally Jackson are now authorized users of our Fidelity account. Mari Emori will serve as a third party to look at the bank statements each month.  Now that we have two treasurers, April (festival treasurer) and Julie (general treasurer) have written their job descriptions and will share the monthly stipend that formerly went entirely to April. 60% will go to Julie and 40% to April.  Julie will send the two job descriptions, along with the stipend structure, to Mari for presentation and approval at the next board meeting.

Juror Recruitment (Chris)

The next application deadline is March 31. Chris is recruiting jurors for the next festival jurying. Board members will send him names of possible candidates, particularly clay jurors.  Jurying entails two meetings about two weeks apart, discussions with other jurors, and written comments that are sent to the applicants along with results.

Board Timeline 2024 (Mari)

Mari has prepared a detailed timeline of Board duties, and asked what needs to be added.  She emphasized the importance of adhering to the timeline, especially in terms of our election process and budget approval in December and our festival application distribution in January.

The meeting ended at 6:50 p.m.

Next meeting: 5:15 pm, Monday, March 18, 2024

By |2024-03-05T14:10:54-08:00March 5th, 2024|ACGA News|Comments Off on ACGA Board Meeting Minutes – February 19, 2024

Meet your Board Member: Iver Hennig

Clay and pottery making go all the way back to my very first memories. As the son of ceramic artists Laurie and Dan Hennig, clay has been an integral part of my entire life. Although I did not take ceramics seriously until my college years, I found out that the techniques and process had passively entered my brain as a child giving me a solid foundation to work with once I started taking the art form seriously. 

The pottery that my parents were producing early on was predominantly functional work such as mugs and jugs which they sold at the Renaissance Fair here in California. This was 1971 and the craft fair movement was just getting started. They built a studio called Camp Climax Pottery in Boulder Creek California where I grew up. I have fond memories of those early years hanging out in the studio and going to the fairs on the weekends.

As a college student at Humboldt State University in the early 1990’s, I studied under Keith Schneider and Louis Marak. I was quickly influenced by the narrative nature and rich underglaze surfaces that Keith and Lou were experimenting with at that time. Looking back now, I see that those early years had a lasting effect on my style and the content of my current work.

After college was done in 1994, I immediately put together a ramshackle studio with my future wife, Jennifer, which we called Live Clay Pottery. We began collaborating on a body of work as well as developing as individual artists. I was also working as an apprentice for my parents on the side to pay the bills. By this point, Laurie and Dan’s work had evolved into a sculptural realm where animals became the dominant theme. They taught us the family techniques of sculpting onto thrown forms and furthered our knowledge in the ceramic process. Jennifer and I began selling our wares on the festival circuit and honing our voice in the clay. The four of us also began to do gallery shows and art festivals together as Hennig Studios. 

In 1998 my mother Laurie was accepted into the ACGA as a festival eligible member. A couple years before, all four of us had participated in an international ceramics festival in southern Holland and were inspired to see how strong the clay community was in Europe. Upon visiting the Clay and Glass Festival in Palo Alto, I came to realize that the ACGA offered that same community we met in Europe of ceramic and glass artists as well as a place to build connections to the clay community on an international level. 

In 2003 I was given the opportunity to teach ceramics at Santa Cruz High School. This position offered some stability and benefits for the family while still keeping the focus on clay. I continued thinking about joining the ACGA and how it could provide professional opportunities and connections to the clay community. I saw this as a benefit for that student that was interested in a career with the clay and glass arts.

I finally applied for the jury process in 2012 when I felt that the body of work I had created would pass the bar for acceptance into the association. I was accepted into the ACGA as a festival eligible member that year and have been participating in the Clay and Glass Festival almost every year since. The connections and friendships that I have created from the experience have been extremely valuable in my professional career as an artist and educator. I encourage anyone I meet with an interest in clay or glass to become a member of this valuable organization.

In January of 2023 I joined the board of directors after having served on a number of jury committees in the years prior. It has been an honor to participate on the board with so many talented and hard working clay and glass artists.The knowledge gained from them has been of huge value in my career.  I currently help out on the Exhibition committee and want to thank Jan Schachter for helping me understand this complex process. It’s very encouraging to know the board of directors are so unified in the promotion of these ancient art forms.   

I have had the privilege to experiment with so many aspects of the ceramics process. Whether it’s sculpting animals on thrown forms, creating large conceptual pieces or just making some functional pottery for the salt kiln we have at the high school, each experience has broadened my understanding of this medium. It seems like every door I open leads me to another room with dozens of additional doors. Although my entire life has been surrounded by the ceramic arts, I still feel like a babe in the woods at times. There is just so much to learn that it would probably take many lifetimes to master all aspects.  

Currently,  I am teaching full time and creating as much ceramic work as possible. Outside the Live Clay collaborative pieces and functional pottery, I am also working on a series of sculptures that incorporate mechanical and animal hybrid elements. I have always had a deep fascination with nature and all the strange creatures that have existed on earth throughout history. Prehistoric animals hold a special place in my imagination. But on the flip side of the coin, I am a product of the science fiction generation that blossomed over the last hundred plus years. From steampunk to the concept of “the used future”, these influences have fascinated me since childhood. Throw into that mix my love of the Funk art movement with its humor and political satire and you get an idea of what motivates me creatively. I believe artists are like valves from which ideas flow. We process what we experience and regurgitate it. Current events, social issues, the environment, history, art, love, sex, tenderness, color, texture, form, mood and everything we know and witness in life is chewed up and spit out in the form of art. At times I have no clue where the meaning lies. Other times the ideas have deep personal value.

By |2024-03-05T14:10:22-08:00March 5th, 2024|ACGA News|Comments Off on Meet your Board Member: Iver Hennig

ACGA All-Member Meeting Minutes – January 20, 2024

Board Members Present: Mari Emori, April Zilber, Sally Jackson (recorder), Jan Schachter, Lee Middleman, Vicki Gunter, Sonja Hinrichsen, Chris Johnson, Cheryl Costantini, Ren Lee, Susie Rubenstein, Barbara Prodaniuk, Iver Hennig, Julie Taber, Tamara Danoyan, Scott Jennings, Emil Yanos, Trudy Chiddix

The meeting began at 10:00 a.m.

Welcome (Mari Emori)

We welcomed three new ACGA board members: Scott Jennings, Tamara Danoyan, and Julie Taber, who is now our general treasurer.  Board members re-elected for another two-year term were Lee Middleman, Chris Johnson, Ren Lee, Susie Rubenstein, Jan Schachter, April Zilber, Trudy Chiddix, Cheryl Costantini, and Sally Jackson.

This meeting will be recorded.  Any questions that we don’t have time for during the meeting should be entered into the chat.  They will be answered by email after the meeting.

Election of Officers (Lee Middleman)

The following board members were elected as officers:

President: Mari Emori

Vice-President: Chris Johnson

Treasurer: Julie Taber

Secretary: Sally Jackson

Resolutions related to ACGA’s Financial Accounts (April Zilber)

April led voting on two resolutions, both of which passed.

  1. The Board voted to remove Forrest Lesch-Middelton and approve Julie Taber to have full access to our Bank of America accounts (passed).
  2. The Board voted to approve Julie Taber and Sally Jackson as authorized users with full access to our Fidelity account (passed).

All-Member Meeting Welcome (Mari Emori)

Mari, starting her second year as ACGA President, extended her thanks to the Board for all its work and accomplishments.  She looks forward to leading the organization to become more inclusive, more robust, and more relevant to artists and others involved in clay and glass throughout California.  She also announced the election results and thanked April Zilber for 20 years of service as ACGA’s treasurer.  Julie Taber is now our general treasurer, and April will continue as the festival treasurer reporting to Julie.

Artist Studio Tours

Iver Hennig (Santa Cruz), Chris Johnson (Davenport), and Barbara Prodaniuk (Truckee) each gave a 5-minute video tour of their studios.

Membership Updates (Emil Yanos)

The membership renewal process this year has been plagued with glitches related to our website. Emil, April, and our website manager Pam Carpenter have been working tirelessly to try to fix the problems.  At this time last year, we had 345 members.  This year we have 277 members who have renewed.  Emil will continue working to get the remaining artists on board if they choose to renew.

Festival Jury Update (Chris Johnson)

Last fall we juried in nine new artists.  The next jurying will be announced in February and those accepted will be notified in time to apply for festival booths.  Chris has worked hard to make sure that jurors write constructive, anonymous comments to our applicants, especially to those who are rejected.  Chris noted that we would like to get more applications from glass artists; Lee suggested contacting glass studios.  He is currently seeking jurors for the next jurying.  Contact him if you are a festival-eligible artist and are interested in being a juror.

Newsletter Overview & Social Media Strategies (Ren Lee)

The Communications Committee (Ren, Cheryl Costantini, and Susie Rubenstein) have been working to reach more people through our newsletter and social media posts.  Our newsletter is delivered online through MailChimp to 5500 addresses. We also have a calendar where members can post information about upcoming shows, exhibitions, and other events.  Newsletter content has improved greatly with articles about our members, their work, and interesting topics in clay and glass.  About half of the recipients open the newsletter.  Data analytics show that the “Events” button on our website gets more clicks than any other link, so Ren encouraged all members to post their events and engage with our digital audience.  We have 15,000 followers on Instagram and Ren is researching ways to increase the number of people who see our posts.  Short videos (1-1.5 minutes long) are an excellent way to catch people’s attention.  Tag your IG posts and videos with “@theacga” and Ren will repost as much content as she can on our IG feed.

Treasurer’s Report (April Zilber)

April introduced Julie Taber as the new General Treasurer for ACGA. Julie is a clay artist with an excellent background in accounting for nonprofits.  April will continue as the Festival Treasurer and will report to Julie.

As of December 31, 2023, our assets were $116,086.  Our net income last year was almost nine times what we expected and budgeted for.  The total net income was $25,000, a high number for us.  Total sales for the Clay and Glass Festival in July were an impressive $478,000 for 110 artists.  Five artists sold in excess of $12,000; six made less than $1000.

Festival Update (April Zilber)

The Board approved an increased booth fee of $295 for 2024. Expenses continue to rise. The Board decided not to have the Artists Showcase this year; it is expensive and involves a lot of time and volunteers.  This frees up money to help pay for things like Clay for All, and it frees up the auditorium to use as a cooling station for visitors.

April is ready to train someone else to be the Festival Liaison.  Ideally this person would shadow her this year.  Email April at zilberglass@gmail.com if you are interested. Starting in 2024, the liaison will be paid $1000 for this work.  The next festival meeting is February 2nd.

Exhibitions (Jan Schachter)

Jan emphasized that our exhibitions happen because of participation from our artists. Any of our members can suggest or inquire about a gallery or other space.  We need this participation in order to make initial contacts and open doors.  Once the conversation starts, then we can generate a roadmap for an exhibition. There are currently three exhibitions in the works:

Benicia: Vicki Gunter is organizing a juried exhibition at the NY2CA Gallery in Benicia.  Prospective dates are September 4-October 5, 2025, and the show will be part of a commemoration of Robert Arneson and his legacy in the Funk Art movement. The call will include functional and sculptural clay and glass. Submitted work does not have to be Funk-inspired. Festivities will include an Arneson Award given by Pam Dixon, a well-known Benicia Funk artist and friend of Arneson’s widow.

Santa Cruz: Iver Hennig is working with Melissa Kreisa, owner of M.K. Contemporary Gallery in Santa Cruz, to organize a juried ACGA Exhibition there. Possible dates are late in 2024 or Spring 2025.

Fresno: Ren Lee, in partnership with the San Joaquin Clay and Glass Association (SJCGA), is working with Clay Hand Studio in Fresno to organize a juried exhibition in their gallery on October 3-31, 2024.  The show will be called “Above Board” and will feature all the things found on a table set for a meal, including dishes, decorations, candleholders, etc.  Entry will be open to members of the ACGA, the SJCGA, and Clay Hand Studio.  Prizes will be awarded to three entries.

The meeting adjourned at 12:10p.m.

By |2024-02-15T20:20:53-08:00February 15th, 2024|ACGA News, Board Meeting|Comments Off on ACGA All-Member Meeting Minutes – January 20, 2024

Meet Your Board Member

By |2024-01-15T09:17:10-08:00January 15th, 2024|ACGA News|Comments Off on Meet Your Board Member

ACGA Board of Directors Meeting Minutes: December 11, 2023

Present: Mari Emori, April Zilber, Emil Yanos, Iver Henning, Chris Johnson, Jan Schachter, Cheryl Costantini, Lee Middleman, Ren Lee, Trudy Chiddix, Julie Taber, Vicky Gunter, Susie Rubenstein, Barbara Prodaniuk, Joe Battiato, Sonja Hinrichsen (recorder)   Absent: Sally Jackson

Welcome (Mari)

Mari reported that on December 5th, ACGA hosted a lively evening presentation at the Palo Alto Art Center featuring officials from the 13th International Ceramics Festival in Mino, Japan (www.icfmino.com/english/). This triennial festival includes a juried exhibition of ceramics from all over the world. Application is free and the deadline is January 31, 2024. Exhibition dates are October 18-November 17, 2024.

Treasurer’s Report (April)

As of the end of November, our net profit for the year is $11,413.32. Less than half of the budget estimate for membership dues has come in so far; April expects more income from renewals in December. We spent $75 using social media to promote the spring and fall juries.

Exhibitions Report (Iver, Jan)

Iver has been in conversation with MK Contemporary Gallery in Santa Cruz about the possibility of a two-month clay and glass show. The gallery has recently requested a substantial financial contribution from ACGA. The Board discussed the pros and cons of spending this money, and whether part or all of it might be recovered. Some on the Board felt that losing money is imprudent, and that we need more information to decide if this show would benefit our members. Others felt that we should pursue this exhibition as an opportunity to promote ACGA. All agreed that we need more information about who covers the costs of show-related things like publicity, promotion, etc. Changing from a two-month show to one month would save money. Iver will continue his conversation with the gallery with these points in mind.

Preliminary Budget and Communications Proposal (April)

The Board discussed a proposal to pay a higher monthly stipend to our newsletter editor, and an occasional honorarium for those authoring newsletter articles. We also discussed budgeting a stipend for whomever is posting on social media. Ren pointed out that these added costs would use most or all of our yearly profit, so that other expenses would have to pay for themselves some other way. Due to several undecided expense items (mostly related to Exhibitions and Communications), the Board decided to postpone voting on the budget until our next Board meeting in January.

 

ACGA Board Nominations Update

As of this meeting there are two nominees for election to ACGA’s Board of Directors: Tamara Danoyan (clay) and Julie Taber (clay). Those eligible for re-election are Trudy Chiddix (clay), Cheryl Costantini (clay), Sally Jackson (clay), Chris Johnson (glass), Ren Lee (clay), Susie Rubenstein (clay), Jan Schachter (clay), April Zilber (glass), and Lee Middleman (clay). The ballot will be sent out in early January.

Longtime Board Member Joe Battiato is stepping down as his term ends. We extend our deep appreciation for Joe’s many contributions over the years, and wish him the best. Thank you, Joe, we’ll see you at the festival!

 

Membership (Emil)

Our membership year begins on January 1 and ends on December 31. The Board discussed how to handle membership fees paid as part of the March and October juries, or those paid at some other point during the year. The Board agreed that those paying in October should receive membership status through the following year. The Board also settled on a $20 refund to those joining in June or later.

A glitch in our website has made General Membership renewal unavailable on some browsers. Our website manager Pam Carpenter has tried unsuccessfully to fix this. Emil is thinking about asking members to send checks in the mail.

 Date of Next Meeting: Monday, January 8, 2024, 5:30 p.m. via Zoom

By |2024-01-08T16:48:56-08:00January 8th, 2024|ACGA News|Comments Off on ACGA Board of Directors Meeting Minutes: December 11, 2023

Connected

Gallery Route One presents
Connected
How we connect with our outer and inner worlds

Juror:  TaVee Lee, Gallery Manager, Transmission Gallery; Exhibitions Director, Gearbox Gallery, Oakland, California
Exhibition Dates:  Saturday, January 13 – Sunday, February 11, 2024
Reception and Awards:  Saturday, January 13, 3-5 PM

Gallery Route One
11101 Highway One, Ste. 1101
Point Reyes Station, CA 94956

Including works by ACGA Artists Melissa Woodburn and Emil Yanos

Image:
Emil Yanos’ Super Storm
Ceramic Wall Sculpture
17″ x 17″ x 3″

By |2024-01-07T21:53:38-08:00January 7th, 2024|ACGA News|Comments Off on Connected

Potentiality/Actuality – The Greater Bay Area Open at NUMU Los Gatos

The Greater Bay Area Open (GBAO) is a juried fine-art-only competition and exhibition presented by the Los Gatos Art Association (LGAA), designed to promote fine art and artists from the greater Bay Area. Starting in 2015 and held biannually, the GBAO is now in its fifth showing and is presented biennially. This exhibition forges an exciting and dynamic association between the LGAA and NUMU, host to this collaboration.

Spanning twelve Bay Area counties, from Sonoma to Monterey, this juried event draws artists to compete for awards and recognition but also brings exposure to respected jurors, galleries, and art collectors from the region. The GBAO embraces artistic excellence, accepting both two-dimensional and three-dimensional fine art into a premier venue.

In every moment of creativity, there is an option to explore one’s perspective and expression. For this exhibition, LGAA invites artists to push work past usual boundaries to embrace the movement between potentiality and actuality. All artists are encouraged to interpret the theme, “Potentiality / Actuality” in their own way.

Vicki Gunter, Wild Iris (Iris douglasiana) …In Everything Series — clay, underglaze, stains, beeswax – 13 x 17 x 15

“While hiking in East Bay Regional Parks the pizazz of this native Iris captured me and caused a departure from my usual color palette. I also departed from my usual slab built technique to working solid, hollowing out and reassembling. This allowed me to push the clay into the arc of leaves and meeting of earth and sky. It is inscribed with several DNA helixes and is 7x’s natural size in clay.” — Vicki Gunter

By |2024-01-07T21:53:03-08:00January 6th, 2024|ACGA News|Comments Off on Potentiality/Actuality – The Greater Bay Area Open at NUMU Los Gatos
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