NOTE: Some of the dates/activities may no longer be correct, be sure to contact the organizer to confirm.
ABRAMS CLAGHORN GALLERY
“One Nest” investigates balancing what is good for human beings with what is beneficial for other species and the planet – our one nest, our only home, and a shared one. Recognizing that all life and ecosystems on our planet are deeply intertwined, we share these impressions in clay, ink and light. We believe in art as agency for change. Artists, historically, have been both witnesses and the raw material for envisioning the future in challenging and critical times. These ARE critical times. It is critical that we do our art. It is critical to make the peaceful revolutionary changes that allow the world to repair. Look closer with us.
Video Tour: https://abramsclaghornshop.com/collections/one-nest-earthworks
VIDEO TOUR: https://abramsclaghornshop.com/collections/one-nest-earthworks
1251 Solano Avenue, Albany, CA 94706
Tuesday – Sunday | 10-6pm and by appointment
Serving Bowl – Mark Pharis
For a walk in appointment at Trax Gallery: (510) 540-8729 leave a message, or text: 510.914.1303. email: firstname.lastname@example.org
. TRAX will be closed for our long winter’s nap until February 4th. Our next big thing is an historical invitation exhibition of potters who have previously shown at TRAX during the National Clay Conference to be held in Sacramento March 15,17,18. Thirty three potters in “Sprouted Roots” along with six “Bay Clay” sculptors exhibiting in the rear building on TRAX grounds. We look forward to seeing you then unless Omicron beats us out.
The TRAX art bnb is actively being booked check it out on the trax web site. Covidly cleaned.
TRAX Gallery has five unique Peter Voulkos color lithos
32″ x 24″, 1979, $1000 each, signed, unframed, email for more info.
1812 5th Street, Berkeley, CA 94710
by appointment – call: 510.540.8729 or text 510.914.1303
ASIAN ART MUSEUM
We are looking forward to welcoming you back to the museum and your safety is our top priority. We will continue to frequently clean high-touch areas, provide hand sanitizer stations throughout the museum, and reduce capacity to allow for physical distancing. Plus, our building is equipped with a top-notch air-filtration system to deliver some of the cleanest air you can find in the city.
We are committed to providing you an uplifting and worry-free experience. Learn more about what to expect on your visit. And don’t forget to join us on Mar. 7 for Free First Sundays! Book Timed Tickets Online in Advance.
Timed entry tickets are quick and easy to reserve. With reduced capacity, you’ll have plenty of space to enjoy an intimate experience with our collection and exhibitions. Reserve your tickets now…asianart.org
Check Out Our New Hours
Thurs: 1 PM–8 PM
Fri–Mon: 10 AM–5 PM
200 Larkin Street • San Francisco, CA 94102 | 415.581.3500
EPPERSON GALLERY OF CERAMIC ART
NEW DAY – Chuck Potter and Margaret Realica and Diane Williams
January 21, 2022 – February 27, 2022
Chuck Potter: “My intention is to create a space where the viewer is encouraged to pause so they can tune into the spirit that dwells inside. I use nature as a catalyst to spur deep self-listening so that viewers can connect with a force larger than themselves to discover their purpose.”
Margaret Realica: ” Combining high and low tech. The contemporary and traditional. Organic with industrial. Stark contrasts are intermingled through deconstruction and reconstruction, pushing and overlapping boundaries, leading to new abstractions
Diane Williams: “I use intuitive color, bold mark making and monumental scale as a vehicle for the voice of the strong feminine to weave nature’s story across time.”
Emmanuela Sintamarian, Jules Campbell, Oona Nelson, Thomas Wojak, Françoise LeClerc, Maryann Steinert Foley, and Daniel Stingle.
January 21, 2022 – February 27, 2022
The Bay Area has a bounty of talent, an abundance of artists, a cacophony of voices. This show combines work that explores the themes of mortality, memory, decadence, excess, and joy. It challenges your sense of reality, and ponders the question, how did we get to this moment in time?
Friday – Sunday, 11AM – 5PM
Anytime by Appointment – 510.787.2925.
Epperson Gallery of Ceramic Art, 1400 Pomona Street, Crockett, CA • 510.787.2915
Safety Precautions in place, Masks Required!
Private Appointments available upon request
PT REYES STATION
Solange Roberdeau and Jochen Holz
Through February 6, 2022
Blunk Space is a new research center and exhibition venue dedicated to advancing the art and legacy of JB Blunk. The exhibition program presents historical and contemporary art, design and craft with links to Blunk’s work. The JB Blunk Estate invites contemporary artists to engage with Blunk’s work and legacy through a variety of means, from exploring the estate’s extensive archive and permanent collection to visiting his iconic handmade home. Blunk Space will operate as a commercial gallery and event space, creating opportunities for artists to present their work to fresh audiences and engage new collectors. Located in downtown Point Reyes Station, a growing hub of tourism and cultural activity, Blunk Space aims to be a destination to view contemporary art and design in a place that has inspired artists for decades.
11101 Highway 1, #105, Point Reyes Station, CA 94956
Life is Not a Dress Rehearsal – Don Reitz
June 4, 2021 – February 20, 2022
The exhibition Don Reitz: Life is not a Dress Rehearsal features the work of Don Reitz, an artist broadly recognized as one of the most influential American ceramic artists of the last century. Known by many in the ceramics community as “Mr. Salt” for his role in almost single-handedly reviving the salt-fire tradition in American studio ceramics, the New York Times recognized Reitz as “one of a small cadre of midcentury artisans who expanded the medium to include immense, intellectually provocative works of abstract art” (New York Times, March 30, 2014). This exhibition will add to the significant body of scholarship on Reitz’s work with new research on the well-known but largely unstudied “Sara Series” (1983-91). This exhibition will feature, together for the first time, over 40 works from this series.
Imprinted – Assembling California – Ahwini Bhat
January 8, 2022 – May 1, 2022
Since 2016, the American Museum of Ceramic Art (AMOCA) has partnered with the Ruth Chandler Williamson Gallery at Scripps College to produce exhibitions of works by the guest curators of the Scripps College Ceramic Annual. In January of 2022, curator Ashwini Bhat will curate On Fire: Contemporary Trailblazers for the 77th Scripps College Ceramic Annual. Opening earlier in the month in the Vault Gallery at AMOCA, the exhibition Ashwini Bhat: IMPRINTED, Assembling California will debut a new body of work comprising sculptures, photographs, and a video work that are based in direct experiences with the California landscape.
399 N Garey Ave
Featuring Members of Ojai Studio Artists
In the Beato & Logan Galleries
Opening Reception was held Saturday, January 22, 2022 / 2 – 4 pm
The Beatrice Wood Center for the Arts is Open to the Public
Fri, Sat, & Sun 11:00 am – 5:00 pm.
8585 Ojai-Santa Paula Road, Ojai, CA 93023
Departures – Level 3
May 28, 2021 – Jan 23, 2022
Stoneware Stories- Folk Pottery of Edgefield, South Carolina
The Deep South has a unique place in the history of American ceramics. In the Northeast, potters commonly used salt to glaze stoneware in the European tradition. But in the southern United States, where salt was a more precious commodity, potters often applied alkaline glazes on high-fired stoneware. Pottery ranges in color from pale green to dark brown with glazed surfaces that vary from smooth and glassy, to drippy and textured. The technique originated in Han
Dynasty, China (206BCE–220CE) and was pioneered in the United States by South Carolina physician and newspaper editor Dr. Abner Landrum (1785–1859), who most likely studied published accounts of Chinese alkaline glaze formulas. Landrum established the Pottersville Stoneware Manufactory around 1815 in the
Edgefield District, the west-central area of the state that is rich in kaolin clay deposits and the alkaline ingredients—wood ashes or lime—required to melt the additional glaze elements.
Traditionally, Southern potteries were small, family-owned seasonal operations, consisting of farmers who sold their wares locally to supplement their incomes. In contrast, Edgefield’s potteries were ambitious enterprises. By 1850, numerous entrepreneurs and investors had opened factories to fulfill the demand for stoneware required for food storage and preservation in the agriculturally rich region. Manufacturers shipped pottery via railway to planters and merchants throughout the state. They placed newspaper advertisements, hired journeymen potters, and applied makers’ marks. Enslaved laborers and, later, freed African Americans, engaged in all aspects of Edgefield stoneware production, from digging and mixing clay to loading wood-fueled kilns, and peddling wares. Others served as “turners” or potters, producing exceptional examples of Edgefield stoneware.