December 1, 2021
During the 1940s Gadsden County was home to sixty-seven Coca-Cola millionaires, and a $100,000,000 shade tobacco industry. With a deep history of racial and agricultural inequality, ensuing decades would leave Gadsden County as one of the poorest in the state and the only county in Florida with an African American majority population.
November 1, 2021
I don’t trust anybody’s nostalgia but my own. Nostalgia is a product of dissatisfaction and rage. It’s a settling of grievances between the present and the past. – Murray Siskind in Dom Delillo’s White Noise In overwhelming times of uncertainty, as an artist, what I can offer is a coherence of values and priorities expressed in the tools of conviviality and of the solitude I craft. These pots inhabit the world I want to live in, nostalgic for a past that never was.
September 1, 2021
When my sense of depersonalization is at its strongest, I feel as though I have become virtual and dreamlike myself and have lost my presence in real time and space.
August 1, 2021
We will probably always wrestle with the thorny question of how contemporary efforts to honor the beauty and complexity of traditional ceramic art can operate on a deeper level than merely “sampling” visual aspects of past achievements for individual purposes.
June 1, 2021
The possibility and potential of apprenticeship as a mode of training was of key interest to Gerry Williams, founding editor of Studio Potter.
April 1, 2021
A new animated comic from Richard Nickel for Studio Potter about the life of Adelaide Alsop Robineau and her masterpiece, The Scarab Vase.
April 1, 2021
There is an unbelievable amount of untapped potential in the digital market of ‘’branded” companies who need handcrafted items.
April 1, 2021
Then, the Last Prisoner Project came onto my radar. Their purpose is to free the 40,000-plus nonviolent prisoners who are in jail for cannabis. These nonviolent offenders remain in jail in states where marijuana is now legal.
February 1, 2021
“The world has been turned upside down.” The inversion has created pain, instability, and fear. Marion Angelica wondered whether it might also foster creativity and innovation. To find her answer, she issued a call to our field. Twenty-one artists responded.
January 4, 2021
...as I sat at the computer, feeling the void of the nonexistent National Council on Education for the Ceramic Arts 2020 conference, I clicked and signed up for the online three day, twenty-four/seven ceramic marathon.
January 4, 2021
Spoken of en masse, essential workers become nameless and removed, unknowable – an anonymous soundbite in the media. When things and people are anonymous they, by default, become disposable.
November 1, 2020
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.
October 1, 2020
Fueled by a curiosity about the limits of clay explored throughout human history, I know that everything I make exists within a larger context.
October 1, 2020
An excerpt from Women, Surrealism & Abstraction – The Poetry Project, at the Nora Eccles Harrison Museum of Art on the Utah State University campus in Logan, Utah.
October 1, 2020
...the stimuli that catch our attention in a moment in time are not actually ‘things” but rather the emotional and psychological association that the thing has triggered.
September 1, 2020
What follows are some highlights from two evolving conversations with Courtney M. Leonard and Paul S. Briggs as they grapple with our roles as makers, educators, and culture shifters in this time of COVID-19, civil uprisings, and an impending election.
June 1, 2020
She recalls how she wanted to be a geologist before discovering clay as art and continues to tell herself there is a beautiful connection there.
April 27, 2020
Trying times inspire revolution and innovation.
April 27, 2020
I had been following the mosaic fabrication of Montreal-based Mosaika for years. In February I invited myself to visit their studio for a behind-the-scenes tour. Graciously, they accepted my invitation.
March 24, 2020
I do not intend my voice to be the voice of all women. In this significant time of convergence between ceramics and fine art, we have the opportunity to contribute a more critical voice to our culture, which demands that we are represented by people from a wider range of perspectives. We must make space for critical writing from less represented viewpoints. We need to make space for more stories.
March 24, 2020
Perhaps it is years of conscious determination that create an air of inherent intuition. The first installment of a new Studio Potter series.
Mulberry Bridge with Diana Kersey, 2011. Photo Credit: Seale Photography.
February 24, 2020
Last month, in Part I, we left studio potter Diana Kersey, having just broken into the practice of public art. This month, while sharing her background from star athlete to ceramist, we explore further her approach to design, content, and community engagement as she completes her first major public art commission.
January 27, 2020
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
Eri Dewa Forest Porcelain Sculpture at Lacoste Keane Gallery
January 27, 2020
Lucy Lacoste generously shared the following catalog essay with Studio Potter, drawing our attention to the next generation of Japanese women in ceramics. The exhibition was inspired by two important past exhibitions; Soaring Voices (2009 – 2012) which traveled to 10 locations in the USA, and Touch Fire (2009) at Smith College, Northampton MA.
January 27, 2020
A three-part series on the ceramist as public artist. "Completing private and public commissions, in addition to creating, decorating, and firing thousands of vessels during my career as an artist/potter, is not unlike how I learned the game of basketball: through practice, study, failure, disappointment, victory, and determination. This artistic path, in addition to my recently completed public art projects, has allowed me to master my ceramic process and has prepared me to take on a project of any scale." – Diana Kersey, 2015
Illustration by Zoe Pappenheimer for Studio Potter journal, 2018.
September 30, 2019
It has been my pleasure to serve as the Editor of Studio Potter journal for the last five years. ... My parting request, dear readers, is that you get more people to read this journal.
Harriet Brisson Cube Striped in Half, 1989. Raku; 6 in. sq. 46th Concorso Internazionale, della Ceramica D'Arte, Faenza, Italy. From Brisson's 50NOW retrospective exhibition catalog.
September 15, 2019
Harriet had a mathematical mind, richly reinforced by her artwork and the life she created with her husband and fellow artist, David Brisson. Her modular ceramic creations, with components that fit together effortlessly, are evidence of her keen logic.