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
Please visit TRAX online! If you’d like an in person visit, before we reopen regular hours in October, please text or call Gianna our gallery assistant, Giana at 707.290.3305
“I don’t separate pots by how they were fired or made but by the feeling they occupy – their ‘being.’ I am on friendly terms with wood kilns and electric kilns, high fire and low fire. No matter the technique it really only holds merit if it leads to ‘good’ pots.”
-Bede Clarke, excerpt from artist statement
Bede Clarke has been a Professor of Art at the University of Missouri since 1992. He received his Master of Fine Arts from The University of Iowa (1990) and a BFA from Eckerd College (1982). Bede’s work is found in public and private collections in the U.S. and abroad.
The soul of a pot, its “being,” is born in the hands of the potter and grows through the relationship you create with it: the ritual of pouring hot water into a teapot, the intention behind placing flowers in your beloved vase, the simple pleasure of a beautiful, functional object.
Go to TRAX Gallery’s website, where you will find Bede’s work as well other artist’s work.
Our next exhibition is in November with Mark Pharis, Noah Riedell, Birdie Boone and Candace Methe
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
O’HANLON CENTER FOR THE ARTS
Artists Making Their Mark 2021
Gallery Exhibits, Online Exhibits
Juried by Donna Seager and Suzanne Gray
August 10 – October 1, 2021
Artist Roundtable Discussion on Zoom with Dr. Peller Marion:
Tuesday, August 10, 4 p.m.
POETRY: SUZ LIPMAN
Continuing our 14th annual show devoted to women artists, O’Hanlon Center for the Arts is committed to amplifying the creative vision of today’s women artists across the globe and helping to bring more gender equity to the world of art.
Women Artists Making Their Mark 2021 is dedicated to living working artists know and yet to be discovered: women artists making their mark and changing the landscape of contemporary art.
© 2011-2019 O’Hanlon Center for the Arts • 616 Throckmorton Avenue, Mill Valley, CA 94941
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
Through September 12th
Ariel Bowman: Lumiere
Ariel Bowman ARTIST STATEMENT:
I make sculptures of prehistoric animals that represent the wonder to be found in natural his- tory. I am intrigued by animals that evolved with distinct features, such as unfamiliar tusks, strange elongated limbs, and unusual proportions. I use clay to bring these extinct creatures back to life, sculpting folds of flesh and filling their bellies with air.
The picturesque aesthetic of the eighteenth century refers to a time when our relationship to nature was being expanded by scientific discoveries, yet separated by the disappearance of wild places. Each scene that I create is a fantasy inspiring curiosity about the unknown animal, while nourishing the imagination of the viewer with intricate details. Mysterious giants wander through palatial ruins, discovering the overgrown remains of monuments to human greatness. Moss and vines cover the fossils of civilization, and show the effects of time in their decay.
My work uses reflective nostalgia to present these extinct animals in the context of human history. The combination of such contrasting timelines questions reality, and rekindles a fascination with the animal world.
Friday – Sunday, 11AM – 5PM
Anytime by Appointment – 510.787.2925.
Epperson Gallery of Ceramic Art, 1400 Pomona Street, Crockett, CA • 510.787.2915
DAVIS ARTS CENTER
If you have not linked on it lately – www.ACGA.net – there have been many changes and updates. The most recent: https://acga.net/2020-davis-center/ addition of a virtual showing of the Davis Arts Center ACGA show “Ceramics in Focus :2020”, that is virtual.
JOHN NATSOULAS GALLERY
from Patti Warashina, Keith Schneider, and Bill Abright
Cat cup by Patti Warashina, porcelain, 2021
John Natsoulas Gallery
521 First Street
Davis, CA 95616
In conjunction with NCECA 2022 The Pence Gallery in Davis CA is mounting an exhibition honoring the Legacy of Viola Frey, the creativity she unleashed and the women artists she encouraged. This CCA(C) exhibition will include current faculty and grads with an emphasis on the inventiveness Viola fostered that thrives today in CCA’s ceramic program.
I am asking you to make a contributions of $100 to the Pence Gallery to support this historic exhibition and accompanying catalog but any amount is invaluable. Your donation is tax deductible: Pence is a 501c3 Non Profit Organization. You will be acknowledged as a contributor in the catalog and in the exhibition. Please leave a note when you donate that your gift is intended to support the CCA/NCECA exhibit.
or mail your contribution to
212 ‘D’ Street
Davis CA 95616
Thanks for your support,
212 D Street, Davis, CA 95616 | phone 530.758.3370 | fax 530.758.4670 |
Open Hours Tue-Sun 11:30 AM – 5 PM
Posies: A Pocketful
Throughout history, flowers have commanded human attention. Our relationship with flowers is special. In many ways it is symbiotic. Wild flowers being the exception, most flowers are cultivated and require human care. In return, flowers provide us with a rich cultural, and sensory experience. There are countless cultural and scientific references to flowers throughout history. Humans have designated the flower as a symbol of birth, death, love and honor. We adorn our bodies, our homes, our churches and our graveyards with them. We pick them, plant them, buy them, pollinate with them, draw them, sculpt them, dry them, eat them, preserve them and heal with them. For most people flowers carry enormous symbolism, provide soothing sympathy and are an integral part of many of cultural ceremonies. Flowers heighten our awareness. By using all of our senses, our continued relationship with flowers connects us to each other and the environment.
BEATRICE WOOD CENTER FOR THE ARTS
Jon Keenan – Recent Work
Through May 1, 2022
An exhibition of new work in porcelain, stoneware, and earthenware by Jon Keenan
NOTICE OF A DETOUR TO THE CENTER
The bridge at the entrance to Happy Valley is closed for repairs. Please see the map below for the detour to visit the Center.
Follow the signs for the temporary detour
to “Besant Hill School”.
8585 Ojai-Santa Paula Rd. (in Upper Ojai) – Ojai, CA 93023
Tel: (805) 646-3381
CRAFT IN AMERICA
This video contains important information for all of us.
On the Craft in America website: https://www.craftinamerica.org/talk/eco-responsible-ceramic-studios
1/16/2021 – 8/21/2021
Learn how Conservator Elisabetta Perfetti conducts repairs at the Watts Towers, a mosaic sculpture in South Los Angeles built in 1921 by artist Simon Rodia.
AMOCA – The American Museum of Ceramic Art
email@example.com, or call (909) 865-3146.
The Museum is Open!
After over a year of virtual programming, we are thrilled to be open again. To celebrate our reopening and as a thank you to everyone who helped us get through the closure, complimentary admission through the end of August is available for all front-line workers, individuals working in health care, veterans, educators, students, and residents of the City of Pomona.
Don Reitz – Life is Not a Dress Rehearsal
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.
Five Bay Area Sculptors • August 14, 2021–January 23, 2022
Since the 1950s, the Bay Area has provided fertile ground for ceramic experimentation and innovation. Abstract Expressionism, Bay Area Figurative, and Funk movements fueled an art scene in Northern California, christening it as a leading center of progressive art and thought in the mid-twentieth century.
Colleges and universities in Berkeley, San Francisco, Oakland, and Davis became distinguished epicenters of vanguard ceramic education. Students flocked to study with luminary artists/educators Robert Arneson, Karen Breschi, Viola Frey, Jim Melchert, Ron Nagel, and Peter Voulkos as they created new and alternative ways to investigate the vast potential of ceramics. These artists had a significant influence on the next generation of Northern California artists, five of which are highlighted in this exhibition.
MIND MATTER: Five Bay Area Sculptors assembles over 80 works by Robert Brady, Arthur Gonzalez, Beverly Mayeri, Nancy Selvin, and Richard Shaw. Each investigates clay’s materiality while evoking profound expressions of life experiences, contemporary issues, psychological explorations, and reflections of popular culture. The wildly divergent approaches to artmaking of these five artists continue to be a touchstone for new generations of artists working in ceramics.
Curated Virtual Clay
Your resource for the best videos, podcasts, glaze recipes, projects for kids, and more.
THE CROCKER ART MUSEUM
Welcome back! The Crocker is now open Thursday – Sunday, 10 AM – 5 PM.
thru September 12, 2021
Louis Comfort Tiffany
Treasures from the Driehaus Collection
216 O Street, Sacramento, CA 95814
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.
Marvin Lipofsky: International Studio Glass
International Terminal – Departures – Level 3
August 10, 2021 – September 25, 2022
Marvin Lipofsky (1938–2016) was a founding member of the American studio glass movement. Throughout his career, Lipofsky explored the limits of form and color in glass and helped to elevate the medium to a fine art. Lipofsky’s most prolific period featured glass sculpture that was initiated in a collaborative setting, such as a factory or workshop, and then finished in his home studio in Berkeley, California. Whether it was created stateside or in a foreign country, each sculptural series is unique and reflects the culture and environment in which it was made.
Lipofsky was an innovative force in the early years of experimentation with studio glass. He studied with Harvey Littleton and his first group of glassblowing students at the University of Wisconsin and received MFA and MS degrees in Sculpture in 1964. Later that year, Lipofsky founded a studio glass program at the University of California, Berkeley, followed by another program in 1967 at the California College of Arts and Crafts (now the California College of the Arts) in Oakland. Lipofsky invited glassmakers from across the country and around the world to lecture and demonstrate at both schools, beginning in 1968 when he inaugurated the annual Great California Glass Symposium to bring artists and students even closer together.
During the 1970s, Lipofsky refined his formula for creating collaborative glass sculpture. The first stage was fast-paced and involved a number of glassmakers working in concert with one another over a handful of days. Multiple layers of clear and colored glass were heated in a furnace and rolled onto the end of a blowpipe. Once the hot glass was blown into a suitable bubble, it was placed into a mold to form its initial shape. Upon return to his Berkeley studio, Lipofsky shifted to a more reflective and contemplative approach. He spent countless hours with a diamond saw, pneumatic grinder, belt sander, and sandblasting cabinet, sculpting his blown glass forms into lively and organic expressions of studio craft.
For close to five decades, Lipofsky worked in glass factories and workshops in more than twenty-five countries on five different continents, earning him the title of the “roving ambassador of glass.” A master of adapting to different cultures, he excelled at transcending language barriers and making efficient use of the resources at hand. Discarded molds, surplus glass, and the experience of his colleagues all lent a distinct character to each of his collaborative series. With great respect for glassmakers and their unique environments, Lipofsky consistently followed the path of local talent and molten glass to stunning and surprising outcomes.
Marvin Lipofsky working with Stefan Stefko and team, Nový Bor, Czechoslovakia [Czech Republic] 1986
photograph by Karel Bartonicek
Courtesy of Marvin Lipofsky Studio