Mixed news

Welcome to 2013! The month rapidly drawing toward a close. I spent the early part of January at lovely Curaumilla Arts Center, about 45 minutes from Valparaiso, Chile, on a bluff over the Pacific Ocean, making pots with a lovely group of people who included Suze Lindsay and Kent McLaughlin, Randy Johnston and Jan McKeachie Johnston, and Doug Casebeer. A great time! Chilean potter Pelusa Rosenthal and her husband, Andres,  founded this place 6 years ago, and it’s a dream made real. NCECA has partnered with them to offer a sponsored residency at Curaumilla. Info at http://www.nceca.net/static/conference_symposia.php 

Deadline to apply is Feb. 1, coming right up!

Curaumilla pictures are in an album on my Facebook page. You’ll have to friend me to see them. It’s remote, so beautiful, and has a wood and a soda kiln. It’s off the grid with power by generator and right on the ocean. People there are welcoming and helpful. A great residency if you want to do wood and soda. I loved the people, the place, and the time there.

Curaumilla Arts Center studio, made from recycled shipping containers.

Curaumilla Arts Center studio, made from recycled shipping containers.

I haven’t been in my own studio much. Holiday break was spent catching up and trying to prep things for school, which began spring term w/o me – thanks to my excellent colleagues Nan Smith, Anna Calluori Holcombe, our invaluable tech Ray Gonzales, and the energetic TAs who took over my classes for the first 2 weeks, Marty Fielding and Cheyenne Rudolph. Both are accomplished potters with studio experience before returning to grad school.

I’m thinking about upcoming workshops, and the loss of my go-to majolica decorating product, AMACO GDC colors, discontinued last December. Some are still available from AMACO’s outlet, Brickyard, but they will be extinct eventually.  I did find an article written by David Gamble earlier about majolica decorating colors, on Ceramic Arts Daily:
http://www.ceramicartdaily.net/booksales/Electric_Gamble2.pdf

I’m working on getting some of the A.R.T. products, but spring term is crazymadbusy, and I’m 2 weeks behind. On the personal front, I’m still pursuing a cure for my persistent Lyme disease, now going on over a year. I’m seeing a specialist in Tampa, 2 hours away, and he seems well-informed and plans to have me back on I.V. antibiotics soon. Not hard, but it all takes more time. So, the results of product testing will be slow in coming, but I’ll post when I get there.

I hope anyone with other news on solutions will comment. I’m thinking I just need to mix so I don’t have to change again if a product disappears, but for workshops, the commercial products are so easy.

Organizing for the new year

It’s occurred to me that I don’t have enough hours in the day for what I must do, would like to do, and want to do. I figure I am not alone in this, and that the New Year is when a lot of people review and work on what they want to enact in the next year.

 As I twirl around trying to multitask and get ready for being away, I’ve been working on organization and workflow. Both could be much improved in my life.

 E-mail: I have changed my old POP3 e-mail that downloaded to my home computer to IMAP, so it’s available all over, all the time. This means I CAN’T let my INBOX have 2500 messages, or the my e-mail server will archive them. So, it’s a nudge to do better about deleting or sorting e-mail.

 On the notes and files front, there are several cloud services that are free and helpful. Most have a more expensive paid component that offers more features, but the free versions are very useful.

 To Do list: My favorite is ToodleDo. Offers the ability to make categories, set priorities, and will e-mail you reminders. The TOOLS tab has some great features – I can make a one-page foldy booklet when I need to take my shopping list with me in hard copy. I also have all my show and workshop dates here, so I have ONE master place to look when I try to plan something new. Being a mildly paranoid belt-and-suspenders planners, I also put the dates with reminders into my Outlook calendar. My browser (IE) is set to open both ToodleDo and my Google home page when I open it, so I am reminded daily to LOOK at the list. Experience has shown me that the To Do list is only good if you train yourself to look at it regularly.

 Cloud file storage: I have a home computer, a work computer, and a laptop for mobile things. There are files that live in one place, but I need in others. I’ve come to love DropBox and Skydrive. Both have a free service. Search for reviews on them if you want to compare. You can park data in the cloud, and reach it anywhere. I’ve used Dropbox a lot, and anything you put in your local computer folder is synched to the cloud and available anyplace, as well as offline. I’m just starting to use SkyDrive, but it’s got a nice, clean interface and drag-and-drop file upload. Both offer the ability to make a folder private or shared, and Dropbox will let you send someone a link to a folder (SkyDrive may do this – I just haven’t gotten that far.)

 If you want to save things from the web – articles, images, etc. – as well as park files and make folders with info and notes by task, check out Evernote and Sprinpad. It’s like having a cloud file cabinet and a clipping service. Ahhhh. I saw a short article in PC World about business use of Evernote, and that nudged me to investigate. Springpad is connected to social media, and you can use it like Pinterest and have people follow specific folders. It’s not as flexible as Evernote in the brief investigations I’ve done. People have complained online about Evernote’s privacy polices, and that you grant them access to your data by accepting. Worth checking into. Still, it’s a service that will go everywhere with you, and will clip from e-mails in Outlook, etc.. You can put a link in your browser toolbar, highlight some text, and click to send it to the program, as well as using it for files, and it can be installed on your smartphone for pictures and info from there. Pinterest has a similar feature for pictures. Article on the use of Springpad for organizing projects (like blog post topics… ): http://lifehacker.com/springpad/

Articles online:
Springpad as content curator: http://www.business2community.com/social-media/springpad-the-most-powerful-content-curation-tool-youre-not-using-0321129

New Springpad vs. Evernote: http://blogs.computerworld.com/20055/springpad_review_a_new_more_sharing_data_collector

The new Springpad: http://web.appstorm.net/reviews/springpad-a-second-look/

I recommend investigating the new tools. Do an online search for the product name and review. Since many people have smart phones, there is online access to your critical data from wherever you are. If you don’t need much of that on-the-go, there’s still the shopping list and appointments needs.

 If anyone has a great app they love for keeping organized, do let us know.

My personal strategy for organizing is to get a highly-rated time management book from a bookstore or online, and put it in the bathroom. Read a page or two at a time, and think about how you can do just a bit better. If I could do just a bit better every week…. it would help. If I showed you a picture of my home office, you’d understand.

 One last check of Evernote details, and I’m out the door on my way to Chile, to teach with the wonderful Suze Lindsay and Kent McLaughlin, and Randy Johnston and Jan McKeachie and Randy Johnston will be there as well.

 

Color Stories

Designers often look at color forecasts, and make up palettes and color stories, built around concepts for the season. The 2013 Pantone Color of the Year, Emerald, is described as  “…the color of growth, renewal, and prosperity—no other color conveys
regeneration more than green.” Well, that’s an optimistic choice for the new year.

Pittsburgh Paints has a color sense game online to help you find your color palette matched to your personality choices:  http://www.voiceofcolor.com/digital-color/color-sense-game

Sherwin Williams has videos for color stories with names like Midnight Mystery (“The colors are moody, the vibe is masculine and the aesthetic is both Victorian and futuristic.”) Watch the video to see how they match the colors with the words and ideas.

If you want to surround yourself with a color you find inspiring, Sherwin Williams offers an app for you phone to color match whatever you photograph with a paint.

From The Ultrabright:
SS2013: Color forecast confirmation + Global color overview
analysis |Nov, 2012

In December of 2011 we predicted that for the spring/summer 2013 season the consumer would continue to drift between the real and unreal – their fantasies and reality. We also predicted that for the upcoming season the color focus will be on nature-inspired shades, 90s bleached hues and hyper-real brights. Here we offer you a confirmation of the colors we predicted for spring/summer 2013, Future Color Forecast: spring/summer 2013, as well as a global overview of the most important colors for the upcoming summer season, as seen during the four major fashion weeks: New York, London, Milan and Paris. …read more

Lenzing is a company that makes color. PDF with some lively color stores and palettes to give you insight for future trends:

http://www.fashiontrendsetter.com/downloads/Lenzing-Trends-Autumn-Winter-2013-14.pdf

Pantone has developed home and interior decoration color stories for 2013. Here’s what they estimate people are  thinking about:
The nine palettes for 2013 are: Connoisseur, Glamour, New Old School, Rugged  Individuals, Extracts, Footprints, Sojourn, Surface Treatments and Out of the  Ordinary.

The palette called Connoisseur takes a fresh approach to  celebrating the finer things in life while displaying a sense of history and  elegance. Whether it is the perfect plate or the smooth finish of a simple table  linen, these fine sensibilities are often reflected in a choice of colors that  are both sophisticated and refined, yet not without a touch of understated  drama. The colors are a compilation of monochromatic violets and orchids, liquid  pink, deep mahogany, alyssum white and beechnut green, all reflected against  champagne beige and silver.

Read more: Pantone View Home + Interiors 2013 Trend Forecast http://www.dexigner.com/news/24716#ixzz2G7UHQR7J

I’m not suggesting that I do or you should follow seasonal color trends, but I find it interesting to see how other artists pair content with color choices, and how this reflects the mood/s of the times. The color forecasting people do an interesting job with this. The ideas that color and value choices (and thereby focus) are about more than being “pretty” or appealing – that color and value carry emotion and meaning – help to shape the works that bring your values to the table. We need, in both real and metaphoric terms, more people bringing personal values to that table.

 Below, a bowl that features a yellow-green next to a cool teal, accented with purple fruit. Chartreuse can be a color that denotes envy, to me. “Green with envy” doesn’t seem emerald-colored, but more sulphurous green. It’s easy to mix by volume for majolica decoration with a bright praseodymium yellow stain and copper – mixed 1/2 bentonite: 1 copper: 3-4 yellow stain: 3 frit 3124 or similar. Add a couple drops CMC gum or glycerin if you choose. Too much gum makes it slippery and hard to put down evenly. I do love that color, in general. It’s also the color of new leaves in many plants, and the color of sunlight through new leaves – I see it most often as a growing, optimistic color. In this bowl, I imagined the fruit as the fruits of one’s labors, and being a bit envious of the ripeness of that fruit. The purple-toward-red is a complement to the green-toward-yellow, making both colors richer. The teal is a darker value, and makes the bottom of the bowl recede. The white rim (and lighter value of the leaf colors) helps the form expand visually toward the top, with a re-statement of green and blue-green to link to the rest of the bowl.

Arbuckle 2010 Bowl-Fruits of Our Labors in a Time of Envy

Arbuckle 2010 Bowl-Fruits of Our Labors in a Time of Envy

Arbuckle 2010 Bowl-Fruits of Our Labors in a Time of Envy 399-2

Color of the Year 2013: Emerald

My sister, Robin Wagner, is a clothing designer specializing in knitwear. She’s alerted me to color forecasting, an important concept in her field, and the industry of color forecasting. Designers may pay to subscribe to a service that determines what the trendy colors for future seasons will be. If you’re of a certain age, you’ll remember the flood of Harvest Gold and Avocado appliances that parents handed down (by then well OVER these colors) for your college apartment? Remember the summer season in fashion when so much was safety orange or chartreuse? Looked great it you had a dark tan, but otherwise questionable. These are the effects of color forecasting in industry. The forecasts come out well in advance so that designers can work on palettes – color stories – for their lines.

Pantone, the color people who set standards for color-matching in industry has declared the Color of the Year 2013 is Emerald. See the link for examples and more info. This looks like a good year for modified chrome greens in ceramics. Pantone says:

“Lively. Radiant. Lush… A color of elegance and beauty                                                                        that enhances our sense of well-being, balance and harmony.”
PANTONE 17-5641 Emerald, a lively, radiant, lush green, is the Color of the Year for 2013.

New Technical Challenges

January 3rd, all too soon, I leave to teach a 2-week class at Curaumilla Art Center in Chile with high-fire potter Suze Lindsay. I’ve known Suze since she came to Louisiana State University as a grad student, and appreciate her sense of decoration and boundless good humor. We only overlapped for one year before I left the L.S.U. faculty to move to Florida and marry Leland Shaw (then an Architecture Professor at U.F. and a part-time potter). Ever since that time, we’ve felt we didn’t get enough time working together, and have wanted to work in studio together. The Curaumilla program is a great opportunity to come together with other potters who want to talk about form and surface in a beautiful place for 2 weeks.

At Curaumilla, the trail has been blazed by wood-fire potters like Doug Casebeer and Randy Johnston, and Chris Gustin and Ron Meyers have also taught there. Suze and I wanted to expand the glaze palette to include more hue and value contrasts and more variety in color. The Curaumilla people dry-glaze and once-fire with wood. Hmmm. This should be a challenge. I think I’ll have to pot more thickly for my pots to survive dry-glazing.

The glazes we’ve been looking at are common cone 10 reduction glazes, like Emily Purple, shinos, saturated irons like Ohata Kaki. The research in Frank and Janet Hamer’s book The Potter’s Dictionary of Materials and Techniques, and Robert Fournier’s Illustrated Dictionary of Practical Pottery say for once-fire dry glazing, clay content in glazes should be 10-20% (for leatherhard about 50%). Our glazes often has less clay, occasionally more. It was fun for me to be able to use glaze calculation to change the clay content in the raw glaze but keep the glaze oxides in the fired glaze the same. I’m just enough of a materials and glaze calc nerd to get myself in trouble, but I enjoy the informaton and the challenge.

Richard Burkett, (potter, sculptor, San Diego State U faculty, materials guru, computer nerd, and musician) wrote HyperGlaze, originally a Mac-only program. It now runs on either PC or Mac platforms. It’s a lovely program, with a good-looking user interface and helpful support programs.

Although I’ve used HG, I find I use a PC-only program, GlazChem, by Bob Wilt, most often. Perhaps it’s from familiarity, but I find the layout (while not beautiful) very functional. I have some glazes that can be imported into GlazChem posted on my website handouts page and a link to the patch that will let you use the help files in Windows 7. Note, when you install GlazChem, you have to right-click and do RUN AS ADMININSTRATOR, and ditto the first time you run it. GlazChem will let you try the program before you buy, and the cost is a nominal $35.00.

With the help of GlazChem, I re-calculated some of my favorite U.F. cone 10 shop glazes to have about 10% clay. They don’t have frit in Curaumilla, and I read in my research materials that wood ash, although a raw material, is frit-like. Good solution. Cheap. They use it in China often. Ash will deflocculate the glaze and it should be flocculated with Epsom Salts to fix this before glazing. Ceramic Arts Daily video about doing this here.

Wishing everyone happy holidays. It’s a positive and optimistic challenge to create things. Below, some high-fire decorated works I’ve done. On the top 2, glazing method ws something I learned from Bill Brouillard: dip in Emily Purple, wax a design. Let the wax dry a bit, then wash off under the faucet all that is not waxed. Dry the piece overnight. Dip in a second glaze. Use a sponge to remove dots of glaze from wax. The Emily Purple is a magnesium-fluxed matt that will turn cobalt to purple. Where it overlaps with the celadon, the magnesium is diluted enough to make it shiny and back to blue. I love the blue line margin that happens.

Arbuckle stoneware bowl: Emily Purple next to Choy Celadon

Arbuckle stoneware bowl: Emily Purple next to Choy Celadon

arbuckle_04_stwr_bowl1a_w

Arbuckle stoneware bowl: while, Emily Purple, Pete’s copper red

arbuckle_04_stwr_tpot_w

Teapot glazed in shino with in-glaze decoration of colorants + flux done like majolica.

More Majolica Decorating Color chat

David Gamble, lowfire clay artist, Skutt kiln expert, did an article a while back. I don’t remember where – someone out there remember? Tell us! – about the various products for decorating on majolica glaze. I asked David to recap his experiences for us. He said:

When I did all my tests I found GDC’s seemed the best – Spectrum was 2nd in my use & assessment and they had lots of color – I heard Color Robbia had some but folks I know said they did not like them & I never tested them – Mayco says that their Stroke & Coats work & yes they melt on top of whites – but I found that they were not as stiff & moved/bleed at the edges – so exact lines were out of the question with them.

 All your tests with velvets on white glazes are still good with me — though not sure about food surfaces – they are so soft they would have to melt completely into the surface to be dinnerware safe. Of course you already know all of this.

Before there were GDCs, I tested the AMACO Velvet Underglazes on top of majolica. The results of this are posted on my website Handouts page. Some melted very well and were usable for majolica, some were very refractory and pig-skinned (so matt they left a crinkled, stony surface on top of majolica.)

David was in touch with AMACO, and checked on the availability of GDC colors at this point. He reported:
They are out of pink in 2oz but have pints of pink left — red & turquoise are low in pints around 10 each .  Seems to be lots of 2 oz jars left in all except pink colors.

So folks should get them know while they still have a great selection at AMACO’s retail store – Brickyard Pottery- Cheri is the manager you can call 317 244 5230  or Amaco’s 800 – 374 1600  and ask for Cheri at BYP .

In my studio world, pink is safe, and so is brown. I probably have enough brown for the rest of my studio lifetime. I’d probably run out of the bright yellow (mixed with turquoise 3-4:1 it’s a great Chartreuse), Light Red, Pearl Grey, and Avocado first.  At one point, I did make it a project to use brown, just to see if I could. I do like certain browns – nice ochre-tan-saddle colors, and reddish, rusty browns. Below, a bowl from 2003 during the self-imposed brown challenge. Summer flowers on the front, winter leaves on the back. Perhaps the theme presaged my later immersion in George R.R. Martin’s Game of Thrones series and the house of Stark motto: winter is coming.

Arbuckle majolica bowl, 2003, Now and Then

AMACO GDC Majolica Colors Sail into the Sunset

AMACO has announced that it’s GDC line of color for majolica decoration will be discontinued in December. It may be available through specific suppliers through the following year, but production will cease. These have been my go-to colors, supplemented here and there, for a number of years, so I’m sad to see them go. It was not a profitable line for AMACO – we use these in small amounts and there were 36 colors. There was at one point discussion about making fewer, more inter-mixable colors, but the final decision was that they were focusing elsewhere in the product line. My thanks to AMACO and its good people for the conversation and support over the years I’ve used the GDCs. I’ve appreciated the product line and my relationship with the company’s people.

Before the GDCs, I mixed my own colors. This began with Gerstley borate as a flux, mixed with oxides or stains. The GB kept things in suspension, made brushing easy, and gave a firm surface when dry to wax over. BUT, the GB gave a very tiny reticulation of miniscule white snowflakes in melting that pastelled the colors. Even before the announcements of the GB mine closing, I was aware that people using frit for a flux had brighter, denser color on majolica. Switching to frit + color or stain revealed that this mix alone was very powdery when dry, and made a real mess if handled, or waxed over – smearing, smudging. Pete Pinnell, the Mister Rogers of clay and glaze materials, advised adding a bit of bentonite, and that did take care of the problems. The colors brushed better and were firm enough to wax over when dry. I’ve been experimenting with adding glycerin or CMC gum for added brushability, but too much of that makes the mix gloppy and interferes with crisp line quality. Still looking for the sweet spot. the mixes I was using:

  • Oxides that melt well at low fire (copper, cobalt, manganese, iron) are mixed by volume (say, teaspoons) 1 colorant + 1 frit (I used 3124 because it’s in the glaze I use) = 1/2 bentonite.
  • More refractory (resistant to melting) oxides (chrome, rutile, nickel) or stains are mixed by volume 1 part colorant + 3-4 parts frit + 1/2 bentonite.

Bentonite “bloats” in water – like trying to mix cinnamon or cocoa powder with liquids – so mix dry with other materials and then add water. Screen if lumpy. There are some nice, small test sieves that fit in a pint container available at the ceramic suppliers.

I have some tests in mind with varying the bentonite and CMC, and trying Veegum-Cer, which the commercial people use in their colors. The last iteration of the GDCs seemed over-gummed and a bit gloppy for good line quality to me, so it’s a needed push out of the nest to do my own testing.

There are other commercial products. I was just given a sample of Spectrum Majolica colors. I fire to 03, and at 03, some of the colors are broken and seem over-fluxed. See image below. The top 3 rows are the Spectrum colors, the last block to the right in row 3 is a test of chrome chloride and water (a soluble colorant toxic raw), and the bottom row is mixes of the Spectrum colors I was curious about, as I had open squares on my test tile.

Mayco has product for this as well. More later on this. My testing life is s-l-o-w as we are in the busy last part of the semester at school, and I’m also being treated with i.v. antibiotics for Lyme disease. I hope people who have experience with other products will comment.

Test of Spectrum Majolica colors on Arbuckle majolica glaze

Test of Spectrum Majolica colors on Arbuckle majolica glaze. Fired to junior cone 04 at 3 o’clock in a visual cone.

Packing and Shipping

Right after I finished grad school, I decided I needed to refresh my 5-year plan. During school, it was just to do the best I could, work hard, and finish school. Once the end was in sight, I needed to make new goals. It’s so helpful to have some direction when you need to make choices. If you know what your priorities are, and consider which choice moves you in that trajectory, it’s clearer.

I discovered during grad school to my surprise I enjoyed teaching. It wasn’t the being-in-charge part, but the opportunity to be around people interested in the same things I was – to be in a community of people who wanted to learn about ceramics and personal expression. It was an interesting place to be. So, my 5 year plan was to
– keep paying my bills and student loans (and this meant a day job)
– keep making work and making it better (this required studio space) and showing it
– live someplace that had an art community so I could keep learning (galleries, museums, libraries)
– at the end of 5 years to be teaching someplace – probably in a community ed situation like a clay studio

All those things pointed toward a city life for a while. I needed someplace that had job opps for a day job, art opportunities for eventual teaching, art scene for me to take in, and access to supplies and studio.

I moved to Philly, answered an ad in the newpaper for a shipping person for a gallery, and was hired by Ruth and Rick Snyderman at Works Gallery (then on South Street). R & R were generous mentors and involved the gallery help in the business, and I’m very thankful for those experiences: bookkeeping, display, inventory, packing and shipping, sales, and I even got to curate a ceramics show. Thanks to this experience, I’m confident of my abilities with packing peanuts and bubble wrap. It was a good day job for an aspiring artist.

One of the major problems with packing is having the right materials. If you buy new bubble wrap, boxes, and peanuts, you have to add that to the cost of your work. I try hard to find free sources, and have a shed out by the chicken coop that is for packing and storage of packing materials. Ask people to save packing materials, chat up local businesses, etc. to find free materials. Space to store them is often an issue.

In your quest for thrift, DO REMEMBER that galleries re-use your packing materials, often to ship to customers. They REALLY don’t want dirty materials. Charlie Cummings of Charlie Cummings Gallery has shared his stories of what has shown up as packing materials – ew. No bugs, no melting and sticky degradable peanuts, etc. Think that your client may see your packing, and that your gallery person (who may never have met you) may form an opinion of your professional abilities colored by your packing. I separate the bio-degradable cornstarch packing peanuts. NOT good in humid climates, as over time the humidity makes them shrink. If they’re separate, I can use these up first and try to get rid of them while they’re still good.

Put an invoice/packing slip in the box. Microsoft has Word templates that you can customize and put in your logo, contact info, etc. to make a professional presentation. Invoices templates are here. You can learn about how to save and use something as a template here. Send an invoice to the gallery as well by e-mail so they know what’s coming (and will have something if the box copy is forgotten or lost.) The person unpacking will have to match the work to the inventory listed. Be kind. Label. I try to inventory my work first ( I keep a database of when it was made, title, size, where it is, price, and an i.d. number), and put my number on the invoice and on the bubble wrap if I think it will be confusing. Include pictures with numbers and sizes, list materials, specifiy if you’re giving retail or wholesale price. Help the gallery out. They will then LOVE you for facilitating their work.

Bubble wrap and tape so that all hard edges are cushioned. Put at least 2 inches between the bubble wrap and the sides/top/bottom of the box with packing peanuts or other cushion. Make SURE you have enough packing to make the contents snug. So many boxes have things that shift and get broken because there wasn’t enough packing material around the work, so it shifted in shipping and/or the box started to cave in.

Make SURE you take off all previous bar codes and destinations on the outside box. Tape the bottom well, as well as the top. Taping across the ends of the flaps also helps stabilize the box. I haven’t checked lately, but as far as I know, shipping companies will charge a base weight for oversize boxes. E.g. UPS would charge you for 25 pounds minimum if your box was over a certain size, even if it weighed less. So, shipping light things in several smaller boxes may be more thrifty than one jumbo box.

Most shipping companies will let you set up an account. Mine is charged to my credit card directly, so I can enter my shipping details online and print the label at home, and just do drop-off at the shipping place. Usually you get a discount from counter prices for having an account, and you can negotiate if you ship a lot to get a better discount.

i LOVE the feeling of dropping boxes off at the shipping counter. Ahhhh! I’ve done my part and now its on its way! Yay. UPS has store around cities in addtion to their own outlets. Fed Ex uses Kinkos (open 24-7 here, which is handy for early morn drop-off on the way to school) and Office Max in addition to their own outlets.

IAC Santa Fe

The International Academy of Ceramics had its biennial Assembly in Santa Fe last week. The last 2 were Shanghai and Paris, but sadly I was dealing with knee problems and not traveling. Very glad that with the help of my ace trainer, Kris Gibson, I’m able to bend my knees again and travel to my first IAC Assembly. It was a challenge to meet so many new people, and I learned many things and made new friends in clay. I was particularly taken by Rose Bean’s insights about being both a native American with a strong tradition and background as well as a university-trained artist (RISD MFA), and the pulls from those different directions. She was wonderfully articulate and candid, and her remarks were deeply thoughtful.

Museum shows offered much to see. One of my favorites was It’s About Time: 14,000 years of Art in New Mexico Art at the New Mexico Museum of Art. Nice use of information to place things in context. They had some pots from the anthropology museum that I suspect were not thought of as the best art, but more as examples of something cultural. But the works were a bit more rugged with charming hand quality, and seemed looser and more expressive than some of the works chosen as high art. Image below circa 925-1125 CE. Museum of Indian Arts & Culture/Laboratory of Anthropology.

Art of the Cup: Functional Comfort at the Ogden Museum

Last year’s Art of the Cup 2011 show at The Ogden Museum in NOLA is online, and still worth looking into. I hope they put this year’s up as well. My contributions for 2012 and opening announcement below.

Arbuckle - Sunflower Cup w Striped Top

Sunflower Cup w Striped Top

Arbuckle- Tankard: Wisteria

Tankard: Wisteria

OPENING RECEPTION
ART OF THE CUP: FUNCTIONAL COMFORT

September 6th 6 – 8 p.m.

Please join The Ogden Museum for the opening reception of
Art of the Cup: Functional Comfort 
Thursday, September 6th from 6 – 8 p.m. during Ogden After Hours at the Ogden Museum of Southern Art. Admission to Ogden After Hours, the Museum’s weekly concert series, is $10.

Prominently installed on the third floor of the Museum, this exhibition is always a favorite with our visitors. In fact, last year over 8,500 visitors viewed Art of the Cup: Functional Comfort

Curator: Elizabeth Bowie
Curator, Southern Craft & Design
Director of Retail Business Operations & Development

Ogden Museum of Southern Art, university of new orleans

www.ogdenmuseum.org