New Works by Tim Rowan

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new works by

tim rowan

A p r i l 5 - M ay 1 2 , 2 0 1 2 c av i n - m o r r i s g a l l e r y

New Works by Tim Rowan I began this piece on Tim Rowan’s work many times and each time I tossed it out, feeling that I wanted to write it at a more auspicious time, when the most justice could be done for this important American artist’s work. It was vital for relevance to feel a shift in the way people perceive an art that used to be relegated to craft. Not only that, it was also necessary to rethink the common perceptions of process: how that itself is slowly, yes, too slowly, changing the art world in relation to ceramics, wood, glass and fiber and their positioning in Contemporary Art. I realized that I would have to rethink even the language in which we perceive this work, and invite concepts not usually associated with Western critical language. Much of the historical craft cosmos is based upon materials; thought is relegated to an artist’s formal contest and victory over clay or woven materials or wood. This ranges from a deep respect for original materials to a post-modern disregard for them, still craft was and is essentially about materials. This focus is becoming less and less the case; intention includes materials, but also so much more. This is not a priority in classic Western Art. But when we start looking outside the canon, outside Western dictates, we realize that there are artistic and aesthetic concepts never articulated in the West. This renders much art as intellectual exercise, or as a narrative ‘about’ the world rather than a part of the world. It describes Nature from a distance rather than becoming one with it or creating it. We have no equivalent for yugen or shibui, for example; both of which are aesthetic references to impermanence, mystery and beauty. The Process Art Movement touched upon this relationship with Nature. It was one of the few Western concepts that actually rhymed with non-Western art practices, but it focused on ephemera; it concerned art created for the sake of its own creative moment which then disappeared into its own life cycle. It didn’t take into consideration that there could be work made with the same attention to intrinsic Nature— art that might physically remain as a signifier of its own process, not symbolic of anything but an actual part of the Nature it contained. The easiest example to demonstrate this would be a tea ceremony bowl (chawan), which not only sits in physical space but contains within its negative space a spiritual arena, an invisible but very present activation of place. Tim Rowan’s personal quietude belies the depth and activity of his process. He allows his work to be his voice, but sometimes this falls victim to the misplaced perceptions of the viewer. The work depends on the viewer to not only intellectually grasp it but to intuit it as well. This work not only occupies gallery space, but also has a placement in the context of his studio and land. When you see his work in its birthplace you realize you are standing in the presence of one of the world’s great Poets of Place. This is not an easy status to achieve. If you are a contemporary sculptor who works with ceramics you have many drummers to pay. From the folk forms native to home ground to the iconoclasts of abstraction and deliberate post-modernism, the giants are formidable for one seeking to carve out his own niche. To play saxophone you must travel past John Coltrane, Ornette Coleman and John Zorn; to play trumpet you must move past Miles Davis and Dizzy Gillespie. In Japan Rowan interned with Ryuichi Kakurezaki, a bold ceramic sculptor who utilizes cutting and carving, predominantly in the unglazed style of Bizen. Kakurezaki’s style is immediately recognizable like the whispered dark tones of a Miles Davis solo. There is a challenge to move away from his huge sphere of

influence, as Kakurezaki once moved away from the Sodeisha movement in Japan, which set the scene for Japan’s non-functional ceramic sculpture. In the United States a similar force exists with the abstract expressionist/minimalist sculptor Peter Voulkos, and with John Mason and Ken Price, among others. These are the men who set the critical guideposts for ceramics in the art world. For a ceramist working with predominantly unglazed surfaces, the essential quality of the surface and the shape becomes paramount. Rowan’s work looks nothing like Voulkos or Kakurezaki’s, although the treatment of the clay may sometimes naturally overlap. Both Rowan and Kakurezaki share a muscular visceral involvement in the density and thickness of the clay body. For all his angular freedom Kakurezaki’s art comes with his dance with Japanese form. We revel in the way he corrupts, changes, and plays with traditional vessels and tableware to create visual music around them. Kakurezaki’s pieces are prescient; they know well the history they have been pulled from and how they constantly bring those ancient forms into the present and future. What is a given and perhaps of the utmost essence is that, no matter what he does, each piece steps into an arena that is timeless. They exist both in retrospect and in the projected future. Tim Rowan’s work does not refer to the history of traditional Western ceramics. Of course aspects of all ceramic sculpture processes are universal, but his work does not travel to us directly out of an evolution of Western ceramic form and surface techniques. By this token they barely travel out of Japanese form either, though there are parts of the process that refer to it obliquely—firing technique and flame markings, for example. But his cups are not chawan, and his sculpture does not quote Bizen form. His urns are not mizusashi. If there are any references at all to his teacher’s work, they come from Rowan’s responding to that work, despite the legacy that birthed it. When you look at Tim Rowan’s pieces, the implications of his freeform place in history come home to roost. You can compare his colors, perhaps; his textures, perhaps; his melted ash perhaps; but his forms are his alone. They are not utilitarian objects trying to break free from tradition. They are, however, utilitarian to the eye and the soul, used in aesthetic contemplation, and the cerebral and ephemeral pleasures therein. I am not sure I would label Rowan as anything but a Contemporary Artist. His expansion to found— and shaped-stone forms extend his ceramic vocabulary. He is a Minimalist, but that is more a description of his affectation than of any philosophical viewpoint. The tension in his pieces is not minimal. His work covers power with a veneer of control and calm—a dangerous, directed power. It seethes. The spikes on his cups or in his bowls, the cracking and splitting of his geode-like forms, whether ceramic or metal, reveal mineral turmoil. They convey a universe that can be both ominous and aggressive even at its most quiet moments. He creates a geological ethnography, objects that have resonance beyond the membrane of ordinary spiritual recognition. It is too facile to bind Tim Rowan’s work to the earth alone. It has become a cliché in writing about ceramics to give reference to the alchemic interaction of earth, fire, air, and water. This is a given. But the magickal code does hold when it claims moral neutrality. The skill and tenacity and intention of the alchemist are determining factors in the empowerment of the process. In previous writings about his work there are always references to an element of death in his boxes and the return to earth. I think this is too easy on the part of writers. Perhaps several of the tall boxes refer to ossuaries, but I find the emptiness within to have more significance in their references to the earth of place. These pieces have a gothic atmosphere, as does much of the architecture and vernacular of this part of New York that Tim calls home. To mix it up even further,

one could say it is far more apt to see this as Goth-meets-Buddhist; they acknowledge the underbelly of death’s presence, but they are by no means inviting death in. They are architectural, castle-like in the mist. They are an attempt to express courage through the mark of the hand. They do not hide what is mortal: they shout it out. Yet ultimately, they lead back to Nature and her morally neutral fecundity. Tim Rowan’s work is made in Nature. It rarely leaves those confines, yet it willingly acknowledges what is manmade. Rust, iron stains on concrete, granite and marble walls are only a few of the poetic evocations. Landscape Art is about the land. This is landscape art that is land.

-Randall Morris, New York, NY April 2012

Ti m Ro w a n Tim Rowan was born in 1967 in New York City and grew up in Connecticut on the shore of Long Island Sound. He began his art education in college, earning a BFA degree from the State University of New York at New Paltz. He made a pilgrimage to Japan shortly after, staying for two years as an apprentice to ceramic artist Ryuichi Kakurezaki. Upon returning to America, Rowan worked in various studios in Massachusetts and New York before receiving his MFA from Pennsylvania State University. In 2000 he established his kiln and studio deep in the woods of the Hudson Valley, where he lives and works with his wife and son. His work has been extensively shown in both solo and group exhibitions internationally; his most recent solo shows include exhibitions at Cavin Morris Gallery in New York City and Lacoste Gallery in Massachusetts. His work has been shown at numerous museums, including The Fuller Museum and The Currier Museum of Art as well as being represented at SOFA NY since 2004.

Untitled, 2011 Ceramic 17 x 22 x 8 inches TR 128

Untitled, 2011 Ceramic 10 x 18 x 5 inches TR 119

Untitled, 2011 Ceramic 14 x 26 x 6 TR 126

Untitled, 2011 Ceramic 11 x 21 x 8 TR 127

Untitled, 2011 Ceramic 16 x 24 x 10 inches TR 122

Untitled, 2011 Ceramic 13 x 22 x 9 inches TR 120

Untitled, 2011 Ceramic 14 x 29 x 8 inches TR 149

Untitled, 2011 Ceramic 18 x 19 x 9 inches TR 124

Untitled, 2011 Ceramic 16 x 25 x 15 inches TR 123

Untitled, 2011 Ceramic 12 x 21 x 8 inches TR 129

Untitled, 2011 Ceramic 15 x 15 x 13 inches TR 125

Untitled, 2011 Ceramic 5 x 32 x 5 inches TR 130

Untitled, 2012 Ceramic 8 x 19 x 6 inches TR 121

Untitled, 2012 Bluestone 11 x 11 x 11 inches TR 133

Untitled, 2012 Bluestone 7 x 16 x 17 inches TR 136

Untitled, 2012 Bluestone 8 x 12 x 9 inches TR 131

Untitled, 2012 Bluestone 6 x 15 x 9 inches TR 135

Untitled, 2012 Bluestone 4 x 18 x 11 inches TR 132

Untitled, 2012 Bluestone 9 x 28 x 22 inches TR 139

Untitled, 2011 Blueston 8 x 17 x 6 inches TR 134

Untitled, 2012 Bluestone 13 x 9 x 7 inches TR 138

Untitled, 2012 Bluestone 6 x 20 x 15 inches TR 137

Untitled, 2011 Bluestone 15 x 25 x 6 inches TR 142

Untitled, 2011 Bluestone 17 x 22 x 8 inches TR 141

Untitled, 2011 Bluestone 6 x 72 x 6 inches TR 140

“I found Tim Rowan’s quirky, metallic looking vessels to be the most extraordinary....they debunk most preconceptions one may have about the delicate nature of ceramics.” ~ D. Dominick Lombardi, The New York Times “It’s like a gear made by Mother Earth, for some purpose both eternal and unfathomable.” ~ Shaun Hill, Art New England “’s clear that Rowan’s sculptures have an encompassing identity, supporting multiple readings. Like the best abstract art, they are open to the imaginative participation of the viewer.” ~ Janet Koplos; critic, editor, curator “Rowan’s boxes and sculptures suggest ‘archaic’ industrial forms that allude to modernity and to industrialized society, driven by capital, while also exploiting to the full the nature of the material he has sourced and the vagaries of his firing processes.” ~ Edmund De Waal, artist, historian, critic “Rowan has gone in search of an elemental, fire-blasted art that explores the perfection of imperfection. his work to the fire and receives it back, changed.” ~ Dr. Roger Lipsey, art historian, author, critic “...massive, powerful contemplations of sculptural space.” Dr. Judith S. Schwartz; curator, art critic, author ~ The New York Times, 2008

A r t i s t’s S t a t e m e n t My artwork flows from a basic desire to find and create meaning in my life. It is fueled by questions I ask myself concerning the realities I am confronted with. There is one thing that we know for certain- we will die. No manner of conceptual, abstract, or analytical thought can conceal this fact of our existence. No faith or belief in what follows can deny the reality that as biological organisms eventually our bodies will no longer be “alive�. We cannot escape the forces of time. In this highly technological and capitalist society our perception of time has been radically affected. Time has been measured and fragmented into smaller and smaller increments. It has been broken up, bound, categorized, and commodified. What is the impact of this on society and the individual? What is our relationship with time? These questions, which form an important aspect of my artwork, are manifested in three main areas: process, tradition, and form. Process is essential to my work and begins with the medium of clay itself. Investigating and using clays from the local area locates me in a specific place and serves to bring to my awareness time as manifest in the moment. Working with raw clay and prospecting in the natural environment serves to keep me in tune with an earth centered and geologic time. The forming process, working on multiples and repetitively, is not unlike growth in nature. Clay must be worked at its own pace as its moisture is slowly evaporating regardless of the demands from outside. Firing functions in a similar way. The wood kiln must be slowly stoked for 7 days if the work is to be successfully transformed from clay to cultural artifact. Tradition is the natural growth of culture through time. It is not static but rather in continuous evolution. I continually look to the past with respect in my work in order to appreciate how we have developed as a society. I directly and indirectly reference work of the past that has something valuable to tell me. We continually move in a cyclical direction and cannot divorce our selves of prior experience. The forms that my work takes on are simple. They rely on a minimum amount of information and detail. They are constructed with a language of subtly, understatement, and restraint. In contrast to the majority of objects and images that we are bombarded with in our contemporary society they do not easily stand out or compete for attention and in this respect require the viewer to actively slow down. They have the capacity to be engaging on different levels and this is best accomplished when one allows the work to reveal itself over time. Utilitarian objects also require physical participation, such as drinking a cup of tea. These rituals of use are also embodiments of time. When I experience real joy I am aware of my mortality and the preciousness of the moment.

Education 1999 M.F.A., Pennsylvania State University, University Park, PA 1992-1994 Apprenticeship, Ryuichi Kakurezaki, Bizen, Japan 1992 B.F.A., State University Of New York, New Paltz, NY

Selected Exhibitions 2012 (Scheduled) Tenyama Exhibitions: Generation Crossroads Sept 12-18, Hiroshima, Japan Sept 26- Oct 2, Fukuyama, Japan June 30-Aug 31, 2012 SERENDIPITY: Wood Fired Ceramics-An International 2012 Exhibition Crimson Laurel Gallery, Bakersville, NC Watershed Kiln Gods, Baltimore Clayworks, Baltimore, MD SOFA NEW YORK, Lacoste Gallery and Cavin-Morris Gallery, New York, NY New Works by Tim Rowan, Solo Exhibition, Cavin-Morris Gallery, New York, NY 2011 Annual Studio Exhibition, October 8-9, Stone Ridge, NY Time and Scale, Solo Exhibition, Lacoste Gallery, Concord, MA Artifact, Solo Exhibition, Touching Stone Gallery, Santa Fe, NM SOFA, Lacoste Gallery, Chicago, NY eARTh, Arts Westchester, White Plains, NY The Unexpected Edge, Cavin-Morris Gallery, New York, NY Within/Without, Touching Stone Gallery, Santa Fe, NM Conversations in Clay, Joan B Mirviss, New York, NY 2010 Generation Crossroads, Tenmaya, Okayama, Japan Contained Excitement, Cavin-Morris Gallery, New York, NY Cross Currents 0f 20th Century Art, Currier Museum, Manchester, NH SOFA, Lacoste Gallery, New York, NY Illumination, Bard College at Simon’s Rock, Great Barrington, NY Made in Clay, Greenwich House Pottery, New York, NY Sculpture Garden, John Davis Gallery, Hudson, NY On Earth, Rockland Center for the Arts, West Nyack, NY 30x5, Akar Gallery, Iowa City, IA 2009 Stone Ridge Alchemy, Solo Exhibition, Cavin-Morris Gallery, New York, NY Outdoor Exhibition, Solo Exhibition, Lacoste Gallery,

Concord, MA Gallery All-Stars, Santa Fe Clay, Santa Fe, NM Stepping Out (Outdoor Sculpture), Ulster County Community College, Stone Ridge, NY Current Within, Garrison Art Center, Garrison, NY Yunomi Invitational, Akar Gallery, Iowa City, IA Abstraction, Santa Fe Clay, Santa Fe, NM Made in Clay, Greenwich House Pottery, New York, NY Under Cover, Clay Art Center, Port Chester, NY SOFA, Lacoste Gallery, New York, NY SOFA, Lacote Gallery, Chicago, IL 2008 Ceramic Sculpture - Solo Exhibition, Lacoste Gallery, Concord, MA Seven Original Voices, LUX Center for the Arts, Lincoln, NE Transformations 6X6, Clay Art Center, Port Chester, NY Spacial Meditations, Mariani Gardens, Armonk, NY Japanese Threads, Morgan Gallery, Pittsburgh, PA Yunomi Invitational, Akar Gallery, Iowa City, IA Present and Past, Nevica Project, Chicago, IL Pottery Invitational, Old Church Cultural Center, Demarest, NJ La Mesa, Santa Fe Clay, Pittsburgh, PA Contemporary American Sculpture, Clay Studio of Missoula, Missoula, MT Annual Ceramics Exhibition, Crossman Gallery, University of Wisconsin, Whitewater, WI Made in Clay, Greenwich House Pottery, New York, NY Ceramic Sculpture Invitational, Abercrombie Gallery, McNeese State University, Lake Charles, LA SOFA, Lacoste Gallery, New York, NY Gardens and Portals Santa Fe Clay, Santa Fe, NM 2007 New Work- Solo Exhibition, Cavin-Morris Gallery, New York, NY Fire And Ash, Fuller Craft Museum, Brockton, MA Repsher And Rowan, Santa Fe Clay, Santa Fe, NM Mark Of Fire, Baltimore Clay Works, Baltimore, MD Made In Clay, Greenwich House Pottery, New York, NY Tim Rowan Ceramics, Art Sites, Riverhead, NY The New Aesthetics Of Ceramics, Huntington University, Huntington, IN Clay-Wood-Fire, Chemeketa Community College, Salem, OR Sofa, Lacoste Gallery, New York, NY Yunomi Invitational, Akar Gallery, Iowa City, IA

Tabletops, Long Beach Island Foundation Of The Arts And Sciences, Loveladies, NJ Unadorned, Santa Fe Clay, Santa Fe, NM 2006 The Simple Cup, Kobo, Seattle, WA New York Ceramics Fair, Cavin-Morris Gallery, New York, NY Earthenware, Santa Fe Clay, Santa Fe, NM My Friends: Their Vision, Weber Fine Art, Greenwich, CT Sofa, Lacoste Gallery, Chicago, IL Sofa, Lacoste Gallery, New York, NY Architectural Echoes In Clay, The Center For Craft, Creativity, And Design, Hendersonville, NC Fire/Ash/Smoke, Adrian College, Adrian, MI The Fire This Time, Cavin-Morris Gallery, New York, NY Tea Bowl Invitational, Hardman Hall Gallery, Mercer University, GA Generational Crossroads, Lacoste Gallery, Concord, MA La Mesa, Sante Fe Clay, Portland, OR 2005 At The Bray, Lewis And Clark College, Portland, OR Minimal/Ist, Archer Gallery, Clark College, Vancouver, WA Nceca 2006, Art Stream Nomadic Gallery, Portland, OR 2005 Tim Rowan Solo Exhibition, Lacoste Gallery, Concord, MA Japan/Usa, Sante Fe Clay, Sante Fe, NM Voices In Ceramics, Yager Museum, Hartwick College, Oneonta, NY 30 X 5, Akar Gallery, Iowa City, IA Unearthed, Catskill Mountain Foundation, Hunter, NY Platters And Plates, Chester Springs Studio, Chester Springs, PA Coming Home, Stancills Clay, Perryville, MD Vanitas: Transient Treasures, Lacoste Gallery, Concord, MA 13 + 1, Works Gallery, Philedelphia, PA Cups, Cups, Cups, Sante Fe Clay, Sante Fe, NM Clay, Jonathan Ferrara Gallery, New Orleans, LA Sofa, Lacoste Gallery, New York, NY Tim Rowan Abstract Vessels, Catonsville Community College, Baltimore, MD Porcelain In The Anagama, Merideth Gallery, Baltimore, MD Culturing Surfaces, Homewood House Museum, Baltimore, MD Box, Sante Fe Clay, Santa Fe, NM 2004 Four American Artists, Judith Dowling Asian Art, Boston, MA Raw, Santa Fe Clay, Santa Fe, NM Naked Truth, Sinclair Gallery, Coe College, Cedar Rapids, IA

Pottery Invitational, Old Church Cultural Center, Demarest, NJ The Beauty Of Usefulness, Gallery On The Green, Shelburne, VT Potters Gold, Belskie Museum, Closter, NJ Anagama Fired, Trax Gallery, Berkeley, CA 4th Generation, Hunter College Art Gallery, New York, NY Unearthed, Mcgowen Fine Art, Concord, NH Pottery Invitational, Worcester Center For Crafts, Worcester, MA The Fire Within, Seton Gallery, University Of New Haven, New Haven, CT Sofa, Lacoste Gallery, New York, NY 2003 Pottery Invitational, Old Church Cultural Center, Demarest, NJ Vessels, Bachelier-Cardonsky Gallery, Kent, CT Clay And Glass, Atrium Gallery, Corning Community College, Corning, NY International Tea Bowl Exhibition, Nau Art Museum, Flagstaff, AZ Passionate Fire, Germaine Keller Gallery, Garrison, NY Recent Ceramics, Akar Gallery, Iowa City, IA Abstractions In Clay, Lacoste Gallery, Concord, MA Nceca Clay National, David Zafp Gallery, San Diego, CA 2002 Hudson Valley Pottery, The Byrne Gallery, Middleburg, VA Pottery Invitational, Old Church Cultural Center, Demarest, NJ Passionate Fire, Germaine Keller Gallery, Garrison, NY Featured Artist, Albert Shahinian Fine Art, Poughkeepsie, NY Faces Of Fire , Vermont Clay Studio, Waterbury Center, VT 2001 Ashes To Art, Fort Mason Center, San Francisco, CA 25 Select 25, Lill Street Gallery, Chicago, IL Abstractions, Art Sites, Greenport, NY Inaugural Firing, Solo Exhibition, Clay Art Center, Port Chester, NY 2000 Natural Materials, University Art Gallery, Central Michigan University Beyond The Body: Architectural Ceramics, Lacoste Gallery, Concord, MA 1999 Woodfired National, Studiolo, Iowa City, IA Serendipity: The Magic Of Woodfired Ceramics, Lill Street Gallery, Chicago, IL National Crafts 1999, Lancaster Museum Of Art, Lancaster, PA1998 Strictly Functional Pottery National Exhibition, Market House Craft Center, Ephrata, PA Domestic Pottery, The Hand And The Spirit, Scottsdale, AZ

1997 Ceramics Usa, University Of North Texas, Denton, TX Domestic Pottery, Group Invitational, Joanne Rapp Gallery, Scottsdale, AZ Usa Craft Today 97, Silvermine Guild Gallery, New Canaan, CT New Work, Two Person Exhibition, Klay Gallery, Nyack, NY Alumni Art 1997, College Art Gallery, New Paltz, NY Featured Artist, Gallery Szent-Gyorgi, Falmouth, MA Res i dent Show, Pewa b i c Pot ter y Ga l l er y, Detroit, M I 1996 A Toast To Life, Gallery Dai Ichi Arts, New York, NY Craft Artist Exhibition, Culinary Institute Of America, Hyde Park, NY 1995 Crafts National 29, Zoller Gallery, University Park, PA Feats Of Clay, Merit Award, Lincoln Arts, Lincoln, CA Strictly Functional Pottery National Exhibition, Honorable Mention Market House Craft Center, Lancaster, PA

Professional Experience 2010 Artist in Residence, Watershed Center for the Ceramic Arts, Newcastle ME 2007 Visiting Artist, University Of North Texas, Denton, TX Visiting Artist, Greenwich House Pottery, New York, NY 2006 Visiting Artist, Harvard University, Cambridge, MA Visiting Artist, University Of Hartford, West Hartford, CT Artist In Residence, Archie Bray Foundation, Helena, MT 2005 Visiting Artist, Hurricane Mountain Center For Earth Arts, Keene, NY Artist In Residence, Archie Bray Foundation, Helena, MT Visiting Artist, Kingsborough Community College, Brooklyn, NY 2004 Panelist- Naked Truth: International Woodfire Conference, Cedar Rapids, IA 2003 Panel Discussion- Moderator Roger Lipsey, Garrison Art Center, Garrison, NY Visiting Artist, University Of Iowa, Iowa City, IA Visiting Artist, Solano College, CA

2002 “Emerging Talent From The United States,” Lecture By Judith S. Schwartz, Phd, International Academy Of Ceramics, Athens, Greece 2000-2002 Instructor- Greenwich House Pottery, New York, NY 1999-2001 Adjunct Professor Of Art, Suny, New Paltz, NY 1999 Panelist- Different Stokes: Woodfire Conference, Iowa City, IA Instructor- Clay Art Center, Port Chester, NY 1997-1999 Graduate Assistant Instructor- Pennsylvania State University, University Park, PA 1996-1997 Instructor- Pewabic Pottery, Detroit, MI Artist-In-Residence, Pewabic Pottery, Detroit, MI 1996 Instructor- Design And Construction Of Anagama Kiln, SUNY, New Paltz, NY 1990-1992 Studio Assistant, Jeff Shapiro, Accord, NY

Publications 2012 In mineral time: Vly artist Tim Rowan’s stone sculptures, by Ann Hutton. Hudson Valley Almanac Weekly, April 21, 2012 2011 The Pot Book, Edmund De Waal, 2011 “Tim Rowan” Essay for solo exhibition “Time and Scale” at Lacoste Gallery, by Janet Koplos, 2011 Art New England, Reviews: Massachusetts, Tim Rowan, b y Shaun Hill, Sept/Oct, 2011 2010 Ceramics Monthly, Working Sculptors, January, 2010 The New York Times, 18 Very Different Pieces of Clay, October 24, 2010

2009 500 Ceramic Sculptures, Lark Books, 2009 Ceramics Art and Perception, Patience and Surprise by Scott Norris, No.77 2008 The Boston Globe, Romancing the Ceramic Stone by Luke O’Neil, Sept. 9 The New York Times, Ceramics Gleam on Many Stages, by Laura Joseph Mogil, Sept 16 2006 Tojiro, Volume 48 The Studio Potter, ‘Using Local Clay’, Vol. 34 No. 2 Ceramics Art And Perception, ‘Generational Crossroads’, No.63 2005 Ceramics Art And Perception, High-Fire Glazes, John Britt, Lark Books, New York, NY 2004 American Craft, Portfolio, October/November 2003 The New York Times, ‘Passionate Fire 2003’, December 7 Ceramics Art And Perception, ‘Passionate Fire’, No.53 Ceramics Monthly, ‘Woodfiring In The Hudson Valley’, September Ceramics Technical, ‘Passionate Fire’, No.16 2002 Kerameiki Techni, ‘The New Generation Of Ceramic Artist’, No. 41 Clay Times, Gallery, July/August Ceramics Monthly, ‘Tim Rowan’, February, Vol. 50 Ceramics Art And Perception, ‘Tim Rowan A Potter Taking A Stand’, No.47 1997 Clay Times, Gallery, Summer Ceramics Monthly, ‘Up Front’, November, Vol. 45 Clay Times, Gallery, Summer Ceramics Monthly, ‘Up Front’, November, Vol. 45

Copyright Š 2012 Cavin-Morris Gallery Cavin-Morris Gallery 210 Eleventh Ave, Ste. 201 New York, NY 10001 t. 212 226 3768 Catalogue design: Mimi Kano , Marissa Levien, &Jurate Veceraite