Jill Foote-Hutton | Studio Potter

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Author Profile

Jill Foote-Hutton

Born and raised by the descendants of hillbillies, Jill Foote-Hutton is an artist following in the tradition of medicine woman and storyteller through her creative practice, dubbed Whistlepig Studio. She has earned a living as a teacher, curator, writer, artist, and arts administrator since 2003. She has been graced with the opportunities to travel to Greece, Denmark, China, Japan, and glorious locales within the United States in the name of contemporary craft.

Whether she is spinning her own tales, chronicling observations from the world of clay and the world at large, or facilitating others’ voices through word and form, she has always been committed to the craft of storytelling.

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Articles

Reclaiming Memory: Expanding the Definition of Successful Learning

NCC’s teaching artists, supported by the organization’s commitment to responsive, professional development, have developed a deep understanding of the human brain, of aging, and of healing that has helped shape the practice of ART@HAND.

Letter From the Editor

Greetings from the new Studio Potter Editor, "Let's not be reductive. Let's be expansive. If we make a list, let's do it to parse out the options rather than create an oppressive hierarchy. We can all benefit from the beautiful mosaic of potential within the ceramic medium. This is what Studio Potter has always done." Send your story proposals to editor@studiopotter.org

Lesson Plans and Resources for Remote Teaching

Collaborative and open sharing is an upside to all we are currently experience. Shades of World War II efforts come to mind: rations, women working in factories, and victory gardens, among other things. Imagine the days to come when we are past the pandemic. What will we have learned about ourselves as people, as a nation, and as a world?

Chandra DeBuse: Portrait of a Maker

Perhaps it is years of conscious determination that create an air of inherent intuition. The first installment of a new Studio Potter series.

Maine Prairie Studio: Portrait of Two Makers – The Confidence of Labor

It’s kind of an old-fashioned dream. Not obsolete, but grounded in tradition and backed by a love of labor that comes from knowing you hold the ability to make something from nothing.

In Order to Hold Ourselves Accountable

An excerpt from a collaborative letter, "I refuse to sign any contracts to teach from this day forward without holding the institutions accountable for how they are actively pursuing/enacting an antiracist agenda."

Making Room at the Table: An Institutional Response

Rather than lean in to an oppositional response, the administrators who chose to be interviewed by Studio Potter here, have allowed themselves to be vulnerable by sharing their honest struggles as they grapple with systemic racism.

Navigating An Evolving Market: Part I

The first installment of a series on navigating the market as a studio artist, wherein we will share the wisdom of field and consider what the gallery/artist relationship might be in the future. Inspired by an inquiry from Osa Atoe.

Vibrant Intention

Welcome to the vibrantly intentional world of Brian Vu.

It's Only Momentary

This is what I do. This is what I make. FREE ARTICLE!

A Way of Being

Robbie Lobell and Maryon Attwood are looking to forge new directions for Cook on Clay. Like the rest of the world, they are asking themselves a lot about transition these days. What does retirement look like for a craftsperson in 2022? How does one navigate from the pounding rhythm of production into a slower beat and still afford life?

A Partial Assessment of Gathered Reflections

On the eve of Studio Potter's fiftieth birthday, I arrived in Shelburne Falls, and Mary Barringer walked me through the idyllic downtown of the former "world headquarters." From here, we sat together, and she shared her reflections on her editorship, on the journal, and on life after Studio Potter.

Donna Ray – Solo Exhibition

Visitors were greeted by three goddesses imagined and interpreted by Ray based on mythologies from the continental Americas, the African continent, and the Asian continent. Rising from pedestals, they stoically greeted visitors. Imbued with powerful, feminine energy, Ray’s goddesses’ heads were not fixed in place, a nod to the feminine ability to transform.

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