The most recent place I saw art on display was slightly unconventional, if only in its context of an outing that also featured a show of draft horses and offered a dinner of hand-muddled lemonade, fried macaroni and cheese on a stick, and a novelty bubblegum-flavored deviled egg. The Ohio State Fair celebrates a vast array of occupations and interests, including fine art. It was a delight to enter a large hall and discover paintings, photographs, prints, sculptures, and ceramics, all created by Ohio residents. The state fair gains popularity each year and, in 2023, broke attendance records with more than one million tickets sold over the span of the 12-day event. I struggle to think of other instances during which that many people gather to celebrate the accomplishments and passions of their community, including the arts. All of this is to say, there are innumerable opportunities to get out to see are and get your art out to be seen. Browse this issue’s Gallery Guide listing for hundreds of venues and galleries that exhibit ceramics across the US and internationally. As artists, gallery goers, and collectors (budding or otherwise), little compares to viewing work in person. This issue focuses on all things exhibition.
In 1984, Robert Yellin moved to Japan and later established the Yakimono Gallery in Kyoto. Victoria Woodard Harvey takes us through its daily operations and Yellin’s ethos for running a contemporary ceramics gallery.
Mo Dickens describes how he came to a life surrounded by clay and now, reflecting on a 20-year career as a gallerist, notes that the stories and artists’ personal growth he’s been privy to accompany each piece in his collection.
In this issue’s Studio Visit, Michelle Gregor and FranÇoise LeClerc discuss how they transformed an old barn on their two-acre property into a shared workspace. LeClerc cites the importance of high-quality photographs that accurately capture your artwork, and recommends seeking out gallery representation based on commonality and a good fit.
In writing about “Magdalene Odundo: A Dialogue with Objects,” the artist’s largest exhibition in North America of 21 vessels and more, Heidi McKenzie shares that she visited seven times including its opening, Q&A, and artist’s walk-through event. This depth of engagement with the exhibition directly correlates to the quality and impact of the work on display.
BLACKDOORS, this issue’s Spotlight artist, creates graphic installations in urban environments using ceramic tile. The nature of this work poses unique challenges and yields the benefit of public viewership.
Additionally, we share an excerpt from Jonathan Kaplan’s The Mold-Making Manual, focusing on slip as a casting material. Brandon Reintjes explores the puzzling, immersive work of Maura Wright. Hilde Boterman, shown on this issue’s cover, reveals her process for cloaking vase forms in grain-like texture. Emily Schroeder Willis outlines her DIY process for a useful tool discovered among her collection of pottery books.
From making, to exhibiting, to viewing, the modes of engaging with ceramic art are many and each has its rewards. Enjoy!
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The most recent place I saw art on display was slightly unconventional, if only in its context of an outing that also featured a show of draft horses and offered a dinner of hand-muddled lemonade, fried macaroni and cheese on a stick, and a novelty bubblegum-flavored deviled egg. The Ohio State Fair celebrates a vast array of occupations and interests, including fine art. It was a delight to enter a large hall and discover paintings, photographs, prints, sculptures, and ceramics, all created by Ohio residents. The state fair gains popularity each year and, in 2023, broke attendance records with more than one million tickets sold over the span of the 12-day event. I struggle to think of other instances during which that many people gather to celebrate the accomplishments and passions of their community, including the arts. All of this is to say, there are innumerable opportunities to get out to see are and get your art out to be seen. Browse this issue’s Gallery Guide listing for hundreds of venues and galleries that exhibit ceramics across the US and internationally. As artists, gallery goers, and collectors (budding or otherwise), little compares to viewing work in person. This issue focuses on all things exhibition.
In 1984, Robert Yellin moved to Japan and later established the Yakimono Gallery in Kyoto. Victoria Woodard Harvey takes us through its daily operations and Yellin’s ethos for running a contemporary ceramics gallery.
Mo Dickens describes how he came to a life surrounded by clay and now, reflecting on a 20-year career as a gallerist, notes that the stories and artists’ personal growth he’s been privy to accompany each piece in his collection.
In this issue’s Studio Visit, Michelle Gregor and FranÇoise LeClerc discuss how they transformed an old barn on their two-acre property into a shared workspace. LeClerc cites the importance of high-quality photographs that accurately capture your artwork, and recommends seeking out gallery representation based on commonality and a good fit.
In writing about “Magdalene Odundo: A Dialogue with Objects,” the artist’s largest exhibition in North America of 21 vessels and more, Heidi McKenzie shares that she visited seven times including its opening, Q&A, and artist’s walk-through event. This depth of engagement with the exhibition directly correlates to the quality and impact of the work on display.
BLACKDOORS, this issue’s Spotlight artist, creates graphic installations in urban environments using ceramic tile. The nature of this work poses unique challenges and yields the benefit of public viewership.
Additionally, we share an excerpt from Jonathan Kaplan’s The Mold-Making Manual, focusing on slip as a casting material. Brandon Reintjes explores the puzzling, immersive work of Maura Wright. Hilde Boterman, shown on this issue’s cover, reveals her process for cloaking vase forms in grain-like texture. Emily Schroeder Willis outlines her DIY process for a useful tool discovered among her collection of pottery books.
From making, to exhibiting, to viewing, the modes of engaging with ceramic art are many and each has its rewards. Enjoy!
Unfamiliar with any terms in this article? Browse our glossary of pottery terms!
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