2022 77th Scripps College Ceramic Annual

This publication was produced in conjunction with the

2022 Scripps College 77th Ceramic Annual

Ruth Chandler Williamson Gallery Scripps College January 29 - April 10, 2022 ISBN: 978-0-9972004-4-7 Copyright ©2021

Catalog produced by Creativity Collaborative, Inc., Portland, OR Typeset: Avenir and Readow Printed in the USA by Inland Litho, Anaheim, CA

On Fire: Contemporary Trailblazers

Curator: Ashwini Bhat

Ruth Chandler Williamson Gallery, Scripps College January 29 - April 10, 2022

artists Ebitenyefa Baralaye

David Katz

Sharbani Das Gupta

Sahar Khoury

Nicki Green

Nathan Lynch

Julia Haft-Candell

Annabeth Rosen

Anna Sew Hoy

Nicole Seisler

Kahlil Robert Irving

Linda Sormin

Anabel Juárez

lenders Dick and Gloria Anderson

David Katz

Ebitenyefa Baralaye

Sahar Khoury

CANADA

Nathan Lynch

Sharbani Das Gupta

Michele S. Mirman

Nicki Green

Annabeth Rosen

Rebecca Camacho Presents, San Francisco

Nicole Seisler

Julia Haft-Candell

Linda Sormin

Anna Sew Hoy

Patricia Sweetow Gallery

Kahlil Robert Irving

VSF (Various Small Fires)

Anabel Juárez

CONTENTS Preface

Acknowlegements

7 9

Curatorial Statement by Ashwini Bhat

11

Newly True by Leah Ollman

13

Plates

17

Checklist

44

Artist Resumes

46

Complete List of Ceramic Annual Artists and Curators

78

Contributors

88

PREFACE Scripps College is unique for its longstanding sponsorship of the Ceramic Annual exhibition, which presents new ceramic art for the 77th year. In 1945 Scripps professor of ceramics William Manker began a tradition of artist curators; and other faculty members followed: Richard Petterson (1947–1958); Paul Soldner (1959–1992); and Nobuho Nagasawa (1993-1995). To ensure changing perspectives, in 1996 we began a series of guest curators: Kris Cox (1996), Douglas Humble (1997) Cindy Kolodziejski (1998), Kathleen Royster (1999), David Furman (2000), Adrian Saxe (2001), Nancy Selvin (2002), Karen Koblitz (2003), Kirk Delman (2004), Tony Marsh (2005), Steven Portigal (2006), Tony Hepburn (2007), Phyllis Green (2008), Adam Davis (2009), Wayne Higby (2010), Tim Berg (2011). In 2012, the exhibition Clay’s Tectonic Shift: John Mason, Ken Price and Peter Voulkos, 1956–1968, which was part of the Getty’s Pacific Standard Time initiative, stood in for the Annual and was co-curated by Mary MacNaughton and Kirk Delman. In 2013, the Ceramic Annual resumed with guest curator Virginia Scotchie. In 2014, Kirk Delman and Mary MacNaughton presented an exhibition of works by past curators, followed by Annuals selected

by Julia Haft-Candell (2015) Susan Beiner (2016), Joan Takayama-Ogawa (2017), Patsy Cox (2018), Kirk Delman (2019), and Joanne Hayakawa (2020).

This year the Williamson Gallery has invited Ashwini Bhat, to be our guest curator for the 77th Ceramic Annual. Bhat was awarded a McKnight Foundation Residency Fellowship for 2021 and was a recipient of Howard Foundation Award for sculpture. Her work has been exhibited nationally and internationally and can be seen in collections at the Newport Art Museum, USA; Shigaraki Ceramic Cultural Park, Japan; FuLe International Ceramic Art Museum, China; the Watson Institute at Brown University, USA; New Bedford Historical Society, USA; Daugavplis Mark Rothko Centre, Latvia, and in many private collections. Her sculpture has been widely reviewed and featured in Brooklyn Rail (USA), Lana Turner: A Journal of Poetry and Opinion (USA), Riot Material (USA), Ceramic Art and Perception (USA/Australia), Ceramics Ireland (Ireland), New Ceramics (Germany), Caliban (USA), Crafts Arts International (Australia), The Studio Potter (USA), Logbook (Ireland), and Ceramics Monthly (USA).

In this exhibition, On Fire: Contemporary Trailblazers, Bhat has selected works by artists whose works visually explores and honors some of the most compelling and diverse artistic imaginations in the field. Each artist works with ceramic as a primary material. All are sculptors whose innovative, sometimes radical approaches to form and process, whose perseverance, and constant reinvention, have made them the source of inspiration for not only a younger generation, but for their peers.

Kirk Delman Interim Director, Ruth Chandler Williamson Gallery

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ACKNOWLEDGEMENTS Many people have collaborated in producing the 77th Scripps Ceramic Annual and a debt of gratitude goes first to guest curator, Ashwini Bhat, who selected works by artists from across the United States. Special thanks go to Leah Ollman, art writer, whose essay, Newly True, reveals a poetic undertone built upon gathered materials that speak volumes.

We are grateful to the artists in the exhibition: Ebitenyefa Baralaye, Sharbani Das Gupta, Nicki Green, Julia Haft-Candell, Anna Sew Hoy, Kahlil Robert Irving, Anabel Juárez, David Katz, Sahar Khoury, Nathan Lynch, Annabeth Rosen, Nicole Seisler, and Linda Sormin. A very special thanks to our collectors and galleries who have graciously loaned work to this exhibition. They include: Dick and Gloria Anderson, Michele S. Mirman, Patricia Sweetow Gallery, Rebecca Camacho Presents, CANADA, and VSF (various small fires).

The staff of the Ruth Chandler Williamson Gallery deserves special recognition: Interim Director Kirk Delman and Gallery Installer T Pacini, working in conjunction with artists, skillfully designed and installed the exhibition. 2021 Getty Marrow Intern, Vivian Rose Monteiro who carefully compiled the catalog’s artist profiles, the exhibition checklist, and a press release for the opening’s events. Jenn Anderson, principal of Creativity Collaborative, expertly designed and produced the catalog. Colleen Salomon, known for her careful attentiveness and patience, carefully reviewed the text before it went to print. This gallery team again contributed to this year’s Ceramic Annual with both the pride and professionalism that I greatly admire.

We extend our gratitude to our supporters, principally the Pasadena Art Alliance, which is devoted to contemporary art, and has supported these exhibitions since 2000, which has made this and many earlier Ceramic Annual catalogs possible.

Special thanks also go to private donors who supported the catalog, including Julianne and David Armstrong, Bill and Francine Baker, Kirk and Dana Delman, David Furman, Susan and Brent Maire, Diane and Igal Silber, and Skutt Ceramic Products, Inc. At Scripps, we are grateful for assistance from the Lincoln Ceramic Annual Fund, Lincoln Ceramic Study Center Fund, and the Paul Soldner Endowment.

Finally, we thank the Williamson Gallery’s Advisory Council, Interim Dean of Faculty Gretchen Edwards-Gilbert, Interim President Amy Marcus-Newhall, and the Trustees of Scripps College.

Kirk Delman Interim Director of the Ruth Chandler Williamson Gallery

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Curator’s statement The exhibition, On Fire: Contemporary Trailblazers, draws together some of the most compelling and diverse contemporary artistic imaginations—imaginations that prod us to acknowledge new trajectories through the clay world. By encouraging us to consider the history of clay, to reconsider our relation to objects and object-making, the exhibition ignites conversations about the content of this work and the relation of that content to background narratives connected to clay (and often to other materials).

Restlessness, risk, and reinvention are signal aspects of each of these artist’s practices, so much so that often their work shatters conventional categories and genres. The artists I’ve come to invite for the 77th Scripps Annual turn out to be makers with whom I feel an intense camaraderie in terms of the way that they explore concepts, challenge traditions, and propose questions. Through different means, they each refocus our attentions not only on objects and aesthetics, but on history, identity, and social practice. Without eschewing personal narratives, these bodies of work make place for challenging abstraction and ideation.

With clay as at least one of their mediums, the 77th Scripps Annual artists are revisioning the possibilities for what is surely the most ancient artistic material. Their intuitive and immersive practices thrive on adding new vocabulary and syntax to the clay lexicon.

Here then we meet thirteen artists setting the field on fire with their processes, ideas, and innovative expressions. As an artist-curator, I’m particularly interested in the juxtaposition of works by this group, a juxtaposition of materials and approaches— raw and fired clay, paper, concrete, paint, wire, wood, bronze, textile, sculpture, drawing, and performance. Assembled in one room, these works vibrate and converse, creating a visual and textual symphony. Together, the works seem to be asking significant questions such as: Where do an artist’s intentionality and a viewer’s subjective engagement meet?

How do we promote dialogue over monologue? What vital questions have replaced the old shopworn questions? How do we creatively unlearn and reinvent ourselves as artists? Finally, and crucially, how do we situate ourselves and our art in this exigent and tumultuous time?

More than providing answers, I want this exhibition to promote engagement, discussion, conversation and contemplation.

Ashwini Bhat, Guest Curator

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Linda Sormin Pass safely through redolent woods, (detail), 2020

newly TRUE

by Leah Ollman

Upon Janet Malcolm’s recent death, I turned in tribute to her lauded book, 41 False Starts, beginning with the title essay. I progressed no further, instead launching into the text again, anew, directly after finishing each read, making of its deliberately discontinuous fragments a continuous loop. In the essay, Malcolm profiles a well-known painter, wrestling openly with the profile format as she proceeds. Her piece assumes shifting ground as the only ground. It asserts as inescapably futile the construction of a cogent, unified portrait of a complex, contradictory individual, about whom she herself has complex, contradictory feelings. Her persistence in spite of the futility, in open acknowledgment and willing embrace of it, yields a text—and a portrait—of uncommon vitality. Malcolm starts the essay, stops, and starts again, repeatedly introducing her subject as if for the first time, and frequently echoing phrases and ideas in the manner of a fugue. In spite of the title (or maybe in fitting counter-endorsement of it), I took each of Malcolm’s starts as true, true to its own transitory intention, each start as true as the next.

I begin here in the same spirit, in restless surrender to the multivalent and indeterminate, curious about where my words and the works in this exhibition might meet.

To call these thirteen artists trailblazers is to praise them as innovators, certainly, but it is also to presume the field of ceramics is (still or ever) wild. One doesn’t need to blaze a trail through gridded, paved, named and numbered streets. It is only new terrain, rugged and unmapped, that calls for a freshly-hewn trail. With all manner of ingenuity and disinhibition, these artists claim the unknown as their turf. They claim unknowing, and assign it form.

The works in the 77th Ceramic Annual assemble in the Ruth Chandler Williamson Gallery and in the pages of this catalog as a provisional new whole. All of the artists reckon with being and becoming, with material transformation and personal metamorphosis, each with a specificity that makes the assembly beyond easy generalization. Each resists a totalizing impulse in their own individual work as well. No effort is made to subsume multiplicity and simultaneity within a singular, conclusive statement. Rather, this show teems with

the contingent and open-ended; the partial, unstable, decentered and avowedly imperfect; the breaking and broken; the emergent and ephemeral; the mutable and the precarious. Several of the artists refer to their work as, basically, improbable.

Whether making an object, an installation or a notional situation, each creates something on the order of a “whole fragment,” as poet Ann Lauterbach describes certain forms in her own medium. Each such fragment negotiates between “as is” and “as if”; each issues from the “continuous flux of is.”1 I see this exhibition as a negotiation, as a fluid proposition.

I see this assembly of works in terms of a poem.

As a poem, then a self-referential cento, a text composed of myriad voices brought into adjacency.

The thirteen voices of these artists, quoted, speaking as one: What you see is a foil (Kahlil Robert Irving)

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a chronicle of loss (Annabeth Rosen) a non-linear assemblage of fact and fiction (Linda Sormin) an absence that I hope to elevate.

(David Katz)

I think of my works as beautiful shining failures.

(Julia Haft-Candell)

Mixing time is important to me (Kahlil Robert Irving) world-building (Julia Haft-Candell) unbuilding (Linda Sormin) creating mythologies (Julia Haft-Candell) suspending the form in a space of transience (David Katz) setting conditions for something to happen.

(Anna Sew Hoy)

that construct the self -(Nicole Seisler) the self-awakening that artists speak of in their discovery and attachment to their medium – (Ebitenyefa Baralaye) transness engaged materially and haptically; transness as an energy -(Nicki Green) simultaneity and paradox -(Julia Haft-Candell) containment vs freedom -(Anna Sew Hoy) structure vs chaos -(Anna Sew Hoy) the nondescript object, the forgotten root.

(Sharbani Das Gupta) I think of the lives of children and the loss of innocence.

(David Katz)

Can we set up the physical conditions for more honest (more vulnerable) conversations?

(Nathan Lynch) ...a deeper sense of empathy, and freedom.

(Annabeth Rosen)

I do not have a hierarchy in approaching my materials.

(Sahar Khoury)

Breaking, wiring, and putting back together becomes part of an interior process.

(Annabeth Rosen) The need to yield to forces beyond control.

(Annabeth Rosen)

What is forgotten, reabsorbed, or unnoticed?

(Sharbani Das Gupta)

I was thinking about prisons and cages -(Anna Sew Hoy) the idea of plants and flowers as cultural visual icons, cacti as signifiers of resilience and adaptability -(Anabel Juárez) the psychological, generational, and geographic layers

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Important to me: to rectify the problematics of our performance as humans.

(Kahlil Robert Irving)

[the seeming impossibility of being prepared as a human] (Nicole Seisler)

How to make my work perform as a verb (Kahlil Robert Irving)

There are thirteen artists included in the 77th Ceramic Annual, but fourteen present. Ashwini Bhat, as curator, articulated this community as further articulation of the ideas and questions that motivate her own work: Ideas about movement and change, heat and time, intimacy

and vastness; questions about the resonant bodies of self and Earth, about states of in-betweenness.

Her curatorial act is at once an act of critical engagement and an act of creation. At a fundamental level, it whispers of the phenomenological: the way our mind and senses construct an external world anew each morning when we open our eyes, our consciousness providing the lens through which we define and process experience. Hers is the lens offered here, hers the guiding consciousness of this exhibition’s reality.

I see this assembly as assemblage—in the art historical sense, bringing together the disparate and formerly unrelated, with each element transporting its history or the history of its making into a new context. I see the show as Bhat’s sculptural gesture.

On a curatorial level, assemblage serves as the organizing principle of many a group show. The term resonates especially well here because the process of assemblage also determines a good portion of the included works. Scavenged objects—plastic buckets, chain-link fencing, rusted cans—and assorted materials—paper, cloth, wood, gold leaf, resin—are brought into some sort of alignment. Assemblage accepts hybridity as a given, natural state, and assumes a continuity between sculpture and our ordinary/ extraordinary, familiar/unfamiliar material world. In the work of these artists, clay often presents as just one member of an expansive, improvised family.

Fire may be an easy metaphor to summon, since, as Bachelard points out, it “can explain anything.”3 It purifies and destroys. It signifies internal drive and external danger. It emblematizes passion and also, in the guise of hell, punishment. It is a necessary catalyst for ecological regeneration. Fire serves countless purposes in both the physical world and the imagination, many of them seeming to cancel each other out, yet fire remains the central, natural metaphor to call upon in speaking about artists using clay (even those who work in unfired clay and thereby engage with fire’s transformative powers via withholding). Fire—in all of its manifestations and interpretations—is a change agent. To be on fire is to own that power and agency.

These thirteen artists are among many who are actuating change in the field of ceramics. If you rejected my earlier deduction that the field through which these artists blaze trails is wild, you might accede that these artists are wilding it.

Through their material and conceptual approaches, they render the boundaries of the ceramics realm more porous and the terms that define that realm broader, more inclusive and fearless. They prompt an assemblage-style assimilation of vocabulary native to other realms of life and art. Why not, in describing a ceramic sculpture, speak of sprezzatura? Enjambment?

Or even punctum, the word Roland Barthes used to name that essential aspect in a photograph, which pricks and pierces?

I see this exhibition as a temporary home for this temporary, chosen family. An intimate shelter for the gathering of kin. A self-reflexive ecosystem, invented to honor the relatedness of its living members.

These artists amplify clay’s modes of engaging the body, far beyond the traditional, analogous relationship between human form and vessel. They integrate the erotic, the uncouth, the ritualized and performative. They use clay as yet another tool to comprehend and comment upon the political and philosophical. They use clay as an instrument of reverence and subversion, to both transcend and transgress.

“Through fire everything changes,” declared Gaston Bachelard in his provocative study, The Psychoanalysis of Fire. “When we want everything to be changed we call on fire.”2

I see this grouping of artists and how they use clay as rhizomatic, their efforts extending in multiple directions, a continuous spreading of roots and accretion of associations. A matter of insistent, organic

Speaking of family, speaking of clay, and speaking of systems that illuminate the structure of interconnected entities, how deeply fitting is it that the term ecology derives from the Greek word for house?

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growth. No limits. No edges.

Their work operates in a kind of future-present tense, a tense that propels the now into the next.

The making of art, the making of self, the making of the world we inhabit—are these separate points on the same continuum? Or exemplifications, on different scales, of the same reverberating, change-driven impulse?

We are not obligated to complete the task of perfecting the world, according to Jewish ethical teachings, but neither are we free to desist from it.

Our daily efforts—in the studio, on the page— constitute the life and the response to life and the invocation of that more perfect world.

How many starts do we get?

How might we make each one newly true?

Alas, the need for change can overwhelm right now, in the nineteenth month (at this writing) of a global pandemic, in the late stages of a climate crisis, in the beginning phases of a long-overdue reckoning with racial injustice, in this charged, prolonged moment of division and national self-definition.

Change is inevitable, that we know. And it can express purpose, whether by default or by design. ...If there is a purpose, maybe there are too many of us to see it, though we can, from a distance, hear the dull thrum of generation’s industry, feel its fleshly wheel churn the fire inside us, pushing the world forward toward its ragged edge, rushing like a swollen river into multitude and rank disorder.

Such abundance. We are gorged, engorging, and gorgeous.

—Dorianne Laux4 What is at stake in the representation of life, the response to life, but life itself?

To make is to make happen, to rev the engine of change. To stage an encounter that persists in the mind and body, an encounter that leaves us changed, an encounter that doesn’t leave us at all. The making doesn’t stop but lodges within and continues its mission.

To make is to create a noun that performs as a verb.

What is the world trying to be?

What are we trying to be?

How best might we serve, in active witness?

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ENDNOTES 1. Ann Lauterbach, “As (It) Is: Toward a Poetics of the Whole Fragment,” The Night Sky: Writings on the Poetics of Experience (New York: Penguin, 2005), 4143.

2. Gaston Bachelard, The Psychoanalysis of Fire, trans. Alan C. M. Ross (Boston: Beacon Press, 1964), 57.

3. Ibid, 7.

4. Dorianne Laux, “Life Is Beautiful,” in Only as the Day Is Long: New and Selected Poems (New York and London: W.W. Norton, 2019), 67.

PLATES

EBITENYEFA BARALAYE

I Just Knew, 2021 Stoneware, paint 8 x 17 x 3 inches

18

For Themselves, 2021 Stoneware, paint 8 x 17 x 3 inches

19

SHARBANI DAS GUPTA

Unwritten Taxonomies, 2021 Raw clay, stoneware, paper, found objects Dimensions vary

20

Unwritten Taxonomies, (detail), 2021 Raw clay, stoneware, paper, found objects Dimensions vary

21

NICKI GREEN

Pillar of Earth 6, 2021 Glazed earthenware with bucket and bungees 18 x 18 x 38 inches

22

Pillar of Earth 8, 2021 Glazed earthenware 18 x 18 x 23 inches

23

JULIA HAFT-CANDELL

Reaching Through: Lavender, Tangerine, Chartreuse, 2012 Ceramic 15 x 19 x 12 inches

24

Arch with Arches, 2020 Ceramic 16.5 x 13.5 x 5 inches

25

ANNA SEW HOY

Time is a Prius, 2020 Fired clay and glaze, found metal, mixed media 21.5 x 24 x 23 inches Courtesy of VSF (various small fires)

26

Somebody’s Head, 2020 Fired clay and glaze, found metal, mixed media 22 x 20 x 18.5 inches Courtesy of VSF (various small fires)

27

KAHLIL ROBERT IRVING

Collaged Mass, 2015 Glazed and unglazed ceramic, enamels, decals 12 x 10 x 10 inches Private Collection, Lake Quivira, KS

28

Mixed-Media, 2017 Glazed porcelain, stoneware, luster, personally created decals, vintage decals 14 x 12 x 10 inches Private Collection, Lake Quivira, KS

29

ANABEL JUÁREZ

Cactus Monarca, 2021 Ceramic 40 x 28 x 16 inches

30

Cactus Monarca, (alternate view), 2021 Ceramic 40 x 28 x 16

31

DAVID KATZ

Moratorium, 2018 Rescued chairs and clay 168 x 84 x 60 inches

32

Moratorium, (detail), 2018 Rescued chairs and clay 168 x 84 x 60 inches

33

SAHAR KHOURY

Untitled (wall piece with purple blobs), 2019 Paper and textile mâché, glazed ceramic, steel, acrylic, oil stick 31 x 26 x 4.75 inches Courtesy of Rebecca Camacho Presents, San Francisco

34

Untitled (tomato cage on four legs), 2019 Paper-textile-mâché, steel, cement, ceramic, reflector tape, rug remnants, leather 43 x 19 x 19 inches Courtesy of Rebecca Camacho Presents, San Francisco

35

NATHAN LYNCH

When the People Preach, 2020 Ceramic and glaze 42 x 48 x 28 inches

36

When the People Preach, (alternate view), 2020 Ceramic and glaze 42 x 48 x 28 inches

37

ANNABETH ROSEN

Brut, 2021 Ceramic with bailing wire and oil paint 10 x 16 x 9 inches

38

Nest (II), 2021 Oil paint on paper 72 x 42 inches

39

NICOLE SEISLER

Ledger of Locating Myself (accumulation of minimization), 2021 Ceramic 4 x 9 x 3 inches

40

Ledger of Locating Myself (conforming to self-expectations), (detail) , 2021 Ceramic 10 x 5 x 5 inches

41

LINDA SORMIN

Leluhur, 2020 Glazed ceramic, watercolor on paper, gold leaf, epoxy 22 x 22 x 18 inches Courtesy of Patricia Sweetow Gallery, San Francisco

42

Merjojong, 2019-2020 Glazed ceramic, watercolor on paper, gold leaf, epoxy 18 x 23 x 15 inches Collection of Michele S. Mirman, New York

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checklist 1. EBITENYEFA BARALAYE

7. JULIA HAFT-CANDELL

13. ANNA SEW HOY

I Just Knew, 2021

Reaching Through: Lavender,

Time is a Prius, 2020

Stoneware, paint

Tangerine, Chartreuse, 2012

Fired clay and glaze, found metal,

8 x 17 x 3 inches

Ceramic

mixed media

15 x 19 x 12 inches

21.5 x 24 x 23 inches

2. EBITENYEFA BARALAYE

Courtesy of VSF (various small fires)

For Themselves, 2021

8. JULIA HAFT-CANDELL

Stoneware, paint

Arch with Arches, 2020

14. KAHLIL ROBERT IRVING

8 x 17 x 3 inches

Ceramic

Collaged Mass, 2015

16.5 x 13.5 x 5 inches

Glazed and unglazed ceramic,

3. SHARBANI DAS GUPTA

enamels, decals

Unwritten Taxonomies, 2021

9. JULIA HAFT-CANDELL

12 x 10 x 10 inches

Raw clay, stoneware, paper, found

Small Expanding Moss Green, 2021

Private Collection, Lake Quivira, KS

objects

Bronze

Dimensions vary

4.5 x 5.25 x 4.75 inches

15. KAHLIL ROBERT IRVING Mixed-Media, 2017

4. NICKI GREEN

10. JULIA HAFT-CANDELL

Glazed porcelain, stoneware, luster,

Pillar of Earth 6, 2021

The Infinite Deck, 2021

personally created decals, vintage

Glazed earthenware with bucket

Ceramic, watercolor, pencil, ink,

decals

and bungees

paper

14 x 12 x 10 inches

18 x 18 x 38 inches

2.75 x 8 x 5.5 in. box with 4 x 5 in.

Private Collection, Lake Quivira, KS

paper drawing 5. NICKI GREEN

16. ANABEL JUÁREZ

Pillar of Earth 7, 2021

11. ANNA SEW HOY

Glazed earthenware with bucket

Cage of Brilliant, 2020

Ceramic

and bungees

Fired clay and glaze, found metal

40 x 28 x 16 inches

18 x 18 x 38 inches

cages, mixed media

6. NICKI GREEN

15.5 x 21 x 20 inches

17. DAVID KATZ

Courtesy of VSF (various small fires)

Moratorium, 2018

Pillar of Earth 8, 2021

Rescued chairs and clay

Glazed earthenware

12. ANNA SEW HOY

18 x 18 x 23 inches

Somebody’s Head, 2020 Fired clay and glaze, found metal, mixed media 22 x 20 x 18.5 inches Courtesy of VSF (various small fires)

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Cactus Monarca, 2021

168 x 84 x 60 inches

18. SAHAR KHOURY Untitled (holder of Lynne Hershman Leeson’s plexiglas and Sarah Braman’s glass), 2019 Glazed ceramic, plexiglas, glass, steel, leather, white glue 18 x 40 x 17 inches Courtesy of the artist and Rebecca

22. NATHAN LYNCH

28. LINDA SORMIN

When the People Preach, 2020

Leluhur, 2020

Ceramic and glaze

Glazed ceramic, watercolor on

42 x 48 x 28 inches

paper, gold leaf, epoxy

Camacho Presents, San Francisco

paint

29. LINDA SORMIN

10 x 16 x 9 inches

Pass safely through redolent

19. SAHAR KHOURY Untitled (tomato cage on four legs), 2019 Paper-textile-mâché, steel, cement, ceramic, reflector tape, rug remnants, leather 43 x 19 x 19 inches Courtesy of the artist and Rebecca Camacho Presents, San Francisco 20. SAHAR KHOURY Untitled (wall piece with purple blobs), 2019 Paper and textile mâché, glazed ceramic, steel, acrylic, oil stick 31 x 26 x 4.75 inches Courtesy of the artist and Rebecca Camacho Presents, San Francisco 21. SAHAR KHOURY Untitled bone holder with two charms, 2021 Ceramic, cement, pigmented paper mache, resin, vinyl paint, steel 17 x 19.5 x 3 inches Courtesy of the artist and Rebecca

22 x 22 x 18 inches 23. ANNABETH ROSEN

Courtesy of Patricia Sweetow

Brut, 2021

Gallery, San Francisco

Ceramic with bailing wire and oil

woods, 2020 24. ANNABETH ROSEN

Glazed ceramic, watercolor on

Brut (II), 2021

paper, gold leaf, epoxy

Ceramic with bailing wire and oil

21.5 x 22 x 18 inches

paint

Courtesy of Patricia Sweetow

8 x 15 x 9 inches

Gallery, San Francisco

25. ANNABETH ROSEN

30. LINDA SORMIN

Nest (II), 2021

Merjojong, 2019-2020

Oil paint on paper

Glazed ceramic, watercolor on

72 x 42 inches

paper, gold leaf, epoxy 18 x 23 x 15 inches

26. NICOLE SEISLER

Collection of Michele S. Mirman,

Ledger of Locating Myself

New York

(accumulation of minimization), 2021 Ceramic 4 x 9 x 3 inches 27. NICOLE SEISLER Ledger of Locating Myself (conforming to self-expectations), 2021 Ceramic 10 x 5 x 5 inches

Camacho Presents, San Francisco

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EBITENYEFA BARALAYE EDUCATION: 2016 2006

MFA, Cranbrook Academy of Art, Bloomfield Hills, MI BFA, Rhode Island School of Design, Providence, RI

TEACHING EXPERIENCE: 2019 Assistant Professor & Section Head, Department of Ceramics, College for Creative Studies, Detroit, MI 2018 Instructor, Beginning Pottery Class, Jewish Community Center of San Francisco, San Francisco, CA

Adjunct Faculty, Sculpture & Contemporary Practice, San Francisco Art Institute, San Francisco, CA 2016 AICAD Fellowship, Sculpture & Contemporary Practice, San Francisco Art Institute, San Francisco, CA SELECTED SOLO AND GROUP EXHIBITIONS: 2019 SKIN, Wigley-Fleming Gallery, Luther College, Decorah, IA 2018 No Lie, Traywick Contemporary, Berkeley, CA 2017 Many Rooms, Emerging Artist Program, Museum of the African Diaspora, San Francisco, CA 2012 Introspective Exhibition, 1stDibs, New York Design Center, New York, NY 2011 Ebitenyefa Baralaye, Narthex Art Gallery, Calvary St. George’s Parish, New York, NY Group 2021 With Eyes Opened: Cranbrook Academy of Art Since 1932, Cranbrook Art Museum, Bloomfield Hills, MI A New Realism, Friedman Benda Gallery, New York, NY A Dead Reckoning, Pensacola Museum of Art, Pensacola, FL SFAI 150 I, A Spirit Of Disruption, Walter McBean Galleries, San Francisco, CA Annual Scholarship Awards & Exhibition 2021, Detroit Artists Market, Detroit, MI Origin Stories: Expanded Ceramics in the Bay Area, Berkeley Art Center, Berkeley, CA Unraveled. Restructured. Revealed, Trout Museum of Art, Appleton, WI Objects USA 2020, R & Company Gallery, New York, NY New Work / New Year, David Klein Gallery, Detroit, MI 2020 Never Normal, Form & Seek, Wasserman Gallery, Detroit, MI Forms Fired, Shoshana Wayne Gallery, Los Angeles, CA Shapeshifters: Transformation in Contemporary Art, Cranbrook Art Museum, Bloomfield Hills, MI Annual Scholarship Awards & Exhibition 2020, Detroit Artists Market, Detroit, MI Up Next, David Klein Gallery, Detroit, MI 2019 Presenter’s Exhibition, Michigan Mud 2019, Holding House, Detroit, MI Manifest of Ipseities, 333 Midland, Detroit, MI Inspired: Baralaye, Crowell, Edgar, McDonald, Pewabic Pottery, Detroit, MI Baralaye / Rosch: In Time, The Great Highway Gallery San Francisco, CA Hidden in Plain Sight, 1301 Broadway, Cranbrook Academy of Art, Detroit, MI Of Other Spaces, Guerrero Gallery San Francisco, CA Planned Obsolescence, Natalie and James Thompson Art Gallery, San Jose State University San Jose, CA 2018 Attachment to Function, 1301 Broadway St, Cranbrook Academy of Art, Detroit, MI

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2017 2016

2015

2013 2012

2011 2010 2006

Make Space, Staple Goods, New Orlean, LA Cultural Landscapes, The Fed Galleries, Kendall College of Art and Design, Grand Rapids, MI First Summer: Part 1, David Klein Gallery, Detroit, MI In Series, Propeller Gallery, Toronto Design Offsite Festival, Toronto, Ontario Form Ever Follows: Iterative Design Objects, Peter Paul Luce Gallery, Cornell College, Mount Vernon, IA Cranbrook Academy of Art Thesis Exhibition, Cranbrook Art Museum, Bloomfield Hills, MI FUBU Forum Gallery, Cranbrook Academy of Art, Bloomfield Hills, MI First Show, David Klein Gallery, Detroit, MI Happenings Exhibition, Detroit Design Festival, Talking Dolls, Detroit, MI Other Another, David Klein Gallery, Birmingham, MI Chance Encounters, Forum Gallery, Cranbrook Academy of Art, Bloomfield Hills, MI Home Design Show, ArtMgt, Architectural Digest, New York, NY Dark Matter, Jeffrey Meir Gallery, Lambertville, NJ Solstice Salon Show, Greenpoint Gallery, New York, NY SRAM Part Project Benefit Art Auction, World Bicycle Relief, Cedar Lake Theater, New York, NY Journey of Faith, Osilas Gallery, Concordia College, Bronxville, NY Fill the Space, Space Womb Gallery, Long Island City, NY Public Collection Exhibition, Philadelphia Biblical University, Philadelphia, PA Fine Art & Faith, White Stone Gallery, Philadelphia, PA Gyeonggi International Ceramix Biennale, Korea Ceramic Foundation, Icheon, Republic of Korea Peters Valley 40th Anniversary Exhibition, Moscow Clayworks, Moscow, PA 127th Annual Members’ Exhibition, Salmagundi Club, New York, NY 2010 Art Show, Excalibur Sculpture Foundry, Brooklyn, NY Spring 2006 Exhibition, Hillel Gallery, Brown University, Providence, RI Thesis Exhibition, Woods-Gerry Gallery, Rhode Island School of Design, Providence, RI Fidelity Investments Exhibition, Maxwell Mays Gallery, Providence Art Club Providence, RI

PRESS/PUBLICATIONS: 2021 “What we Learned from a Year of Crafting”, Steven Kurutz, New York Times “150 Ebitenyefa “Ebi” Baralaye”, Mariwyn Curtin, Essay’d “Ebiteneyfa Baralaye”, Andy Pepper, Artists Looking at Animals 2020 “The Groundbreaking 1969 Craft Exhibit ‘objects: Usa’ Gets A Reboot”, Jennifer Nalewicki, Smithsonian Magazine “Objects: USA 2020”, Glenn Adamson, The Monacelli Press 2019 “Inspired @ Pewabic Pottery”, Dennis Nawrocki, Detroit Art Review, Detroit, MI 2018 “Ebitenyefa Baralaye @ Traywick”, Maria Porges, Square Cylinder, San Francisco, CA 2017 “Notes from MoAD: Jacqueline Francis and Ebitenyefa Baralaye”, Art Practical, Jacqueline Francis, San Francisco, CA “Ebitenyefa Baralaye @ MoAD”, Maria Porges, Square Cylinder, San Francisco, CA “Detroit: The Dream Is Now: The Design, Art, and Resurgence of an American City” - Michel Arnaud, Abrams, Detroit, MI 2012 “Ebitenyefa Baralaye Explores Issues of Identity”, Editor, Arts Observer, New York, NY “On Location: Ebitenyefa Baralaye”, Julie Baumgardner, 1stdibs Introspective Magazine, New York, NY AWARDS/GRANTS/RESIDENCIES: 2021 Peter S. Reed Foundation Grant Huron Artist Residency, Greenbush, MI 2019 Session V: “The New Ancient”, Watershed Center for the Ceramic Arts, Newcastle, ME 2018 Rosch Residency, Minnesota Street Project Artist Studios, San Francisco, CA 2017 AIR Program, Tech Shop, San Francisco, CA 2016 Summer Fellowship, The Hambidge Center, Rabun Gap, GA 2016 Museum Committee Acquisition Prize, Cranbrook Academy of Art, Bloomfield Hills, MI 2015 Zeslie Rose Merit Scholarship, Cranbrook Academy of Art, Bloomfield Hills, MI Larson Award, Cranbrook Academy of Art, Bloomfield Hills, MI Summer Studio Residency, Talking Dolls, Detroit, MI Cranbrook Art Selection, Mercedes Benz Financial Services, Farmington Hills, MI 2011 Honorable Mention, Gyeonggi International CeraMix Biennale, Korea Ceramic Foundation, Icheon, Republic of Korea Resident Artist, Elizabeth Foundation for the Arts, New York, NY GICBiennale International Arts Exchange, Korea Ceramic Foundation, Icheon, Republic of Korea 2010 Harry R. Ballinger Memorial Award, Members Exhibition, Salmagundi Club, New York, NY 2006 Summer Studio Assistant, Peters Valley Crafts Center, Layton, NJ PUBLIC COLLECTIONS: 2016 Cranbrook Art Museum

47

SHARBANI DAS GUPTA EDUCATION: 2000-05 Porcelain Vessels, Arita Porcelain Program, University of New Mexico, Albuquerque, NM 1992-93 Apprentice, Golden Bridge Pottery, Pondicherry, India, Instructors: Ray Meeker, Deborah Smith 1990 Five-year Graduate Visual Communications Program, National Institute of Design, India TEACHING EXPERIENCE: 2018, 2022 Curatorial and Founder Member, Indian Ceramic Triennale 2016-21 Clay & Animation workshop, Skopelos International Film Festival for Youth (SIFFY), Greece 2012 Lecture: Southwestern University, Austin, TX

USC, Los Angeles, CA

UNM, Albuquerque, NM 2006 Houston Center for Contemporary Crafts; Art Teacher in Outreach program 2003 Studio Assistant, Marc Leuthold, Penland, NC 2001–5 Porcelain Studio Assistant, University of New Mexico, NM SELECTED SOLO AND GROUP EXHIBITIONS: 2021 Passages, Northern Clay Center, Minneapolis, MN (Upcoming) Resident Artists Exhibition, Archie Bray Foundation for the Ceramic Arts, Helena, MT 2020 Quartzinversion, Group responses to the pandemic A Path Described by a Body, Group Show, Casa Otro, Las Cruces, NM 2019 In/Sight, Solo Exhibition, Roswell Museum and Art Center, Roswell, NM 2018 New Orientalia, Yingge Museum of Ceramics, Taipei, Taiwan Breaking Ground, First Indian Ceramic Triennale, Jawahar Kala Kendra, Jaipur, India 2017 Mutable, Piramal Art Foundation, Mumbai, India The New Romantic, Las Cruces Museum of Art, Las Cruces, NM Out of Step, SUNY Fredonia, Fredonia, NY 2016 NCECA Kansas City: Fifty Women, American Jazz Museum; Kansas City, MO Standing Wave, StudiosInc Creta Yuga, Argilla, Faenza, Italy Post Colonialism?, Bin Yamini Center, Tel Aviv, Israel 2015 Las Cruces Creates, NMSU Art Gallery, Las Cruces, NM Indo-Korean Collaborations, Chennai, India Terra Firma, NCECA, Providence, RI Concurrent Solo, Santa Fe Clay, Santa Fe, NM Six by Six, Australian Triennale, Canberra, Australia 2014 Six from Fifty, Braithwaite Gallery, Southern Utah University, UT Crossing Boundaries, Amelia Gallery, FL 2013 Contemporary Ceramics from India, Fule International Ceramic Museum, Weinan, China

48

2012

2010 2009 2007 2006 2005 2004

Naturalization, NCECA Houston, Houston, TX Traditions Evolving, NCECA Houston, Houston, TX Readymade, NCECA Houston, Houston, TX Culinary Cultures, Southwestern University, Sarofim school of the Fine Arts, Austin, TX Earth, Dinner with King Midas, a collaboration, White Plains, NY Confinement, 1st Annual Clay Workhouse, Lorton, VA Crafting Live(s), Houston Center for Contemporary Craft, 10th Anniversary Exhibit, Houston, TX Wichita Falls Museum of Art, Midwestern State University, Wichita Falls, TX Sculpture Garden, Grand Hyatt, Chennai, India Solo Exhibition. King Midas and his Dinner, Weavers Contemporary Gallery, Kolkata,India Celebration of Clay 2009, NMPCA, Albuquerque, NM The Attic, New Delhi, India Craft Houston 2006, Houston,TX Mixed Artists Summer Show, Gallerie Besson, London, England Shaping the spirit, Arita in UNM, Maxwell Museum, Albuquerque, NM Three Women in Clay, Indian Cultural Center, London, England

PRESS/PUBLICATIONS: 2020 “The Space Between”, Studio Potter 2018 Architecture and Design, India 2017 “PostColonialism?” by Anthony Stellacio, Ceramics Monthly 2016 Award: “PostColonialism?” Residency and Exhibition, Bin Yamini Center, Tel Aviv, Israel 2014 “Insights for an uneven world” Article by Laurie Rufe. Ceramic Art & Perception “The Shape of the Wind”, Ceramics Ireland “An Artists Way”, Ceramics Ireland “Signs from the Interior”, New Ceramics; “Cross Pollination” 2013 Dao Magazine; An Artists Way Artist Residency award at the Indian Museum in the Fule International Art Museums, Xian, China “Traditions Evolving”, Ceramics Ireland 2012 The Art and Craft of Clay 5th Edition Jan Peterson 2011 Ceramic Art and Perception Author of article 2010 Marg Publications “Contemporary Indian ceramic artists”, December ART India NCECA Journal essay on the art of the image-makers of Kumartuli, West Bengal, India 2009 Harnack Lancaster Award for Excellence and Innovation in the Ceramic Arts, June Albuquerque Arts Journal, June 2006 Southwest Arts, June AWARDS/GRANTS/RESIDENCIES: 2021 Summer Resident, Archie Bray, MT 2019 Resident Artist, People Tree, Goa, India 2016 Award: PostColonialism? Residency and Exhibition, Bin Yamini Center, Tel Aviv, Israel 2014 Naori Eco-Art Festival, South Korea 2013 Fule International Artist Residency, China, Skopelos Art Foundation, Greece 2009 Artist in Residence, Golden Bridge Pottery, Pondicherry, India 2006 Artist in Residence, Houston Center for Contemporary Crafts, TX COLLECTIONS: City of El Paso Art Purchase, 25 Rue Dumas Ceramic Museum, Fule Ceramic Art Museum, Hyatt Sculpture Garden and several private collections.

49

NICKI GREEN EDUCATION: 2018 2009 2005-2007

MFA, University of California Berkeley, Berkeley, CA BFA, San Francisco Art Institute, San Francisco, CA The New School, New York, NY Courses completed in psychology & fine arts

TEACHING EXPERIENCE: 2022 Visiting Artist, Claremont Graduate University, Claremont, CA

Lecturer, Advanced Ceramics, University of California, Berkeley, CA 2021 Visiting Artist, Claremont Graduate University, Claremont, CA

Lecturer, Introduction to Handbuilding, California State University, Long Beach, CA

Lecturer, Ceramics Foundations, University of California, Berkeley, CA

Advanced Ceramics, University of California, Berkeley, CA 2020 Lecturer, Introduction to Handbuilding, California State University, Long Beach, CA

Lecturer, Ceramics Foundations, University of California, Berkeley, CA

Advanced Ceramics, University of California, Berkeley, CA 2019 Lecturer, Ceramics Foundations, University of California, Berkeley, Berkeley, CA 2018 Graduate Student Instructor, Introduction to Visual Thinking (Sessions 1 & 2), University of California,

Berkeley, Berkeley, CA 2017 Teaching Assistant, Advanced Ceramics, University of California, Berkeley, Berkeley, CA 2016 Teaching Assistant, Ceramics Foundations, University of California, Berkeley, Berkeley, CA SELECTED SOLO AND GROUP EXHIBITIONS: 2021 The Flames, The Living Art of Ceramics, Musée d’Art Modern, Paris, France (forthcoming) Omniscient: Queer Documentation in an Image Culture, Leslie-Lohman Museum of Art, New York, NY (forthcoming) Contemporary Clay, Fine Art Museum of Western Carolina University, Cullowhee, NC (forthcoming) Ceramic Interventions, Di Rosa Center for Contemporary Art, Napa, CA A Spirit of Disruption, Walter & Mcbean Galleries, San Francisco, CA 2020 The Body, The Object, The Other (Ceramics Biennial), Craft Contemporary, Los Angeles, CA The Burdens of History, Visual Arts Center, Richmond, VA Between Washing and Unwithering, LaiSun Keane Gallery, Boston, MA Pillars of Earth, Guerrero Gallery, San Francisco, CA 2019 Artissima Art Fair (Et. Al. Gallery booth), Turin, Italy OBJECTS: REDUX, Houston Center for Contemporary Craft, Houston, TX Queer California, Oakland Museum of California, Oakland, CA Don’t Touch My Circles, Catherine Clark Gallery, San Francisco, CA Splitting/Unifying, Et Al Gallery, San Francisco, CA 2018 Consciousness Razing, The Stonewall Re-Memorialization Project, New Museum, NY UnderSTOOD, Rockelmann & Partner Gallery. Berlin, Germany

50

2017 2016

2015

Bay Area Now 8, Yerba Buena Center for the Arts, San Francisco, CA Queer Biennial, What If Utopia, Navel Gallery, Los Angeles, CA Way Bay, Berkeley Art Museum and Pacific Film Archive, Berkeley, CA The Karaite Canon: Manuscripts and Ritual Objects from Cairo, The Magnes Collection, Berkeley, CA Sabbath: Dorothy Saxe Invitational, The Contemporary Jewish Museum, San Francisco, CA Fermenting Feminism, Broken Dimanche Press, Berlin, Germany Intermediaries, Worth Ryder Gallery, Berkeley, CA (Signal), Smack Mellon, Brooklyn, NY James Gobel, Nicki Green, Ariel Goldberg, [ 2nd floor projects ], San Francisco, CA Chain Reaction 12, San Francisco Arts Commission Gallery, San Francisco, CA Breaking Dishes at Gene Compton’s, GLBT History Museum, San Francisco, CA MOTHA presents: Transgender Hirstory in 99 Objects: Legends and Mythologies, ONE Archives Los Angeles, CA Hello, World!, Artspace New Haven, New Haven, CT I AM, Waterloo Arts, Cleveland, OH

PRESS/PUBLICATIONS: 2021 “Between Sunlight and Shadow: Transvocality as Talmudic Process” University of Oregon, Eugene Center for Arts Research “Catalytic Conversations: Craft and The Hyperobject,” University of Oregon, Eugene Center for Arts Research 2019 “’Artifacts from the Future’: The Queer Power of Trans Ritual Objects” Nicki Green and S.J. Crasnow. Transgender Studies Quarterly, August 2018 “#TorahForTheResistance: The Queer Mikveh Project,” JewSchool.com, January 2017 “Blessing for Fermentation” Fermenting Feminism, Copenhagen, June 2014 “Tranny Rage: The Politics of Mythologizing Transness.” Dirty Looks NYC, June AWARDS/GRANTS/RESIDENCIES: 2022 Greenwich House Pottery Resident Artist (forthcoming) 2019 SECA Award Finalist, San Francisco Museum of Modern Art, San Francisco, CA 2019 Art Matters Foundation, Grantee 2019 Center for Contemporary Ceramics, Cal State Long Beach. Summer Resident 2019 United States Artists Fellowship Award, Nominee 2019 San Francisco Arts Commission, Individual Artist Commission, Grantee 2019 John Michael Kohler Arts/Industry Resident 2018 Headlands Center for the Arts. Graduate Fellow 2018 United States Artists Fellowship Award, Nominee 2018 UC Berkeley Eisner Award for Academic Excellence 2017 Watershed Center for the Ceramic Arts, Resident 2017 UC Berkeley Sam Francis Travel Research Grant 2016 Center for Cultural Innovation Grantee 2015 San Francisco Arts Commission, Individual Artist Commission, Grantee PUBLIC COLLECTIONS: John Michael Kohler Art Center, Sheboygan, WI Kohler Company, Kohler, WI Berkeley Art Museum and Pacific Film Archive, Berkeley, CA Magnes Collection of Jewish Art and Life, Berkeley, CA

51

JULIA HAFT–CANDELL EDUCATION: 2016 2010 2005

Skowhegan School of Painting and Sculpture, Madison, ME MFA, California State University Long Beach, Long Beach, CA BA, University of California Davis, Davis, CA

TEACHING EXPERIENCE: Founder of the infinite school 2019-present 2016-present University of Southern California: Part Time Lecturer 2017 Ox-Bow School of Art: Summer Faculty 2015-2017 University of California Los Angeles: Part Time Lecturer 2015-2016 Otis College of Art and Design: Part Time Lecturer; Los Angeles County High

School for the Arts: Part time instructor 2012-2015 Scripps College and Claremont Graduate University: Lincoln Visiting Artist in

Ceramics at Scripps College and Claremont Graduate University

California State Summer School for the Arts: Ceramics Faculty 2010-2012 California State University Long Beach: Part Time Lecturer 2011-2012 California State University Northridge: Part Time Lecturer SELECTED SOLO AND GROUP EXHIBITIONS: Import/Export, Night Gallery, Los Angeles, CA 2021 Carrier Bag of Fiction, Candice Madey, New York, NY 2020 Interlocking, Night Gallery, Los Angeles, CA Yevgeniya Baras and Julia Haft-Candell: Parts of Speech, Inman Gallery, Houston, TX Julia Haft-Candell/Suzan Frecon, Parrasch Heijnen Gallery, Los Angeles, CA 2019 CONDO NY, Franklin Parrasch Gallery, New York, NY 2018 Phantom LIM, Torrance Art Museum, Torrance, CA Melting Point: Movements in Contemporary Clay; The Inaugural Clay Biennial, Craft and Folk Art Museum, Los Angeles, CA Manifesto: A Modest Proposal, Pitzer College Art Galleries, Claremont, CA Julia Haft-Candell: the infinite, Parrasch Heijnen Gallery, Los Angeles, CA 2017 Brightsiders, Verge Center for the Arts, Sacramento, CA, curated by The Pit The 8th Dimension, Interface Gallery, Oakland, CA Denim Chain on Trees, Installed at the Bowtie Project, in collaboration with Clockshop 2016 and California State Parks, Los Angeles, CA Double Knot, Ochi Projects, Los Angeles, CA No Rules, No Rules, Franklin Parrasch Gallery, New York, NY Uncommon Ground, Fellows of Contemporary Art, Los Angeles, CA Beyond the Object: the 72nd Scripps Ceramics Annual, Ruth Chandler Williamson Gallery, Scripps College, Claremont, CA A Marginal Tic, Fourteen 30 Contemporary, Portland, OR

52

2015

2014

2013

2012 2011

The Treachery of Images, Fine Art Center Gallery, University of Arkansas, Fayetteville, AR Sculptures on the Roof, Rosslyn Studios, Los Angeles, CA Loops, Highland Park Museum of Ceramic Art, Monte Vista Projects, Los Angeles, CA Kill All Zombies, The Property, Los Angeles, CA Where the Sand Worm Slumbers, Charlie James Gallery, Los Angeles, CA Iko Iko, Los Angeles, CA Fast and Slow, Grand Central Art Center at California State University Fullerton, Fullerton, CA ArtWatch 2014, Westmont Ridley-Tree Museum, Santa Barbara, CA Sculpting in Time, Glendale College Art Gallery, Glendale, CA Corporeal Impulse, Vincent Price Art Museum, Monterey Park, CA Terrains, ACME., Los Angeles, CA Farewell Ruins, Inman Gallery, Houston, TX High Low, Irvine Fine Art Center, Irvine, California Heroes. Carter & Citizen, Los Angeles, CA Chockablock, University Art Museum, California State University Long Beach, Long Beach, CA Flower Vessels by Julia Haft-Candell, Iko Iko, West Hollywood, CA Julia Haft-Candell at ACME, ACME., Los Angeles, CA Julia Haft-Candell and Ben Demott, Jane Hartsook Gallery, Greenwich House Pottery, New York, NY Paper Space: Drawings by Sculptors, Inman Gallery, Houston, TX Out of Line, Richard L. Nelson Gallery, University of California Davis, Davis, CA Chiasmus: Zones of Political and Aesthetic Imagination, University Art Gallery, University of California Irvine, Irvine, CA Mind Over Matter, Meulensteen Gallery, New York, NY Works of Paper, ACME., Los Angeles, CA Los Angeles Museum of Ceramic Art at ACME, ACME, Los Angeles, CA String Theory, Huntington Beach Art Center, Huntington Beach, CA

PRESS/PUBLICATIONS: 2021 Charity Coleman, “Julia Haft-Candell at Candice Madey,” Artforum, April, 2021 Kay Whitney, “Without Definitions: A Conversation With Julia Haft-Candell,” Sculpture Magazine, April 2, 2021 Julie Belcove, “Why California Has Become a Hotbed for Ceramic Art,” Robb Report, August 2021 2020 Lindsay Preston Zappas, “Art in Isolation with Julia Haft-Candell,” Contemporary Art Review Los Angeles, Issue 20 2019 David Pagel, “At Parrasch Heijnen Gallery, sculpture and painting go hand in hand,” Los Angeles Times, April 16, 2019 Jessica Simmons, “Julia Haft-Candell & Suzan Frecon at Parrasch Heijnen,” Contemporary Art Review Los Angeles, Issue 16 Martine Bury, Ryan Waddoups, Devon Kasarjian, “State of Clay: Los Angeles Ceramics Artists Break the Mold,” Surface Magazine, September 2019 2018 Leah Ollman, “Ceramic art, once written of as mere craft, wins a brighter spotlight in the L.A. scene,” Los Angeles Times, April 25, 2018 Tom Morris (ed), New Wave Clay: Ceramic Design, Art and Architecture, Frame Publishers, Amsterdam, the Netherlands Kate Guadagnino, “Funky Ceramics Are Everywhere. Including in Galleries.” T: The New York Times Style Magazine, June 14, 2018 2017 Alexandra Pechman, “Julia Haft-Candell at Parrasch Heijnen Gallery,” Artforum, July 2017 Jennifer S. Li, “Julia Haft-Candell’s Black Clay Infinity Sculptures, On View in LA,” Sight Unseen, July 14, 2017 Leah Ollman, “In Julia Haft-Candell’s ‘infinite’ art, the possibilities are, well…” Los Angeles Times, August 22, 2017 Mat Gleason, “Julia Haft-Candell Confounds the Infinite at Parrasch Heijnen Gallery,” Huffington Post, August 5, 2017 Annabel Osberg, “Julia Haft-Candell,” Artillery Magazine, August 10, 2017 Casey Lesser, “These 20 Artists Are Shaping the Future of Ceramics,” Artsy, February 2017 Caitlin Confort, “Julia Haft-Candell’s Sculptures Inspired by Intuition,” Artzealous, January 2017 2016 George Melrod, “Julia Haft-Candell,” Art Ltd., March 2016 2015 Andrianna Campbell, “Kill All Zombies,” Artforum, November 2015 2014 Allyson Unzicker, “Corporeal Impulse: Contemporary Artists Working in Clay,” The Brooklyn Rail, April 2, 2014 Retha Oliver, “‘Corporeal Impulse’ at the Vincent Price Art Museum,” Glasstire, April 4, 2014 2013 A. Moret, “Julia Haft-Candell: ‘Terrains’ at ACME,” Art Ltd., March 2013 Meredith Deliso, “Finding Beauty in the Imperfect at Inman Gallery,” The Houston Press, February 26, 2013 2012 Leah Ollman, “The Happy Medium,” Art in America, December 2012 Juli Carson, “Across the Political/Poetic Divide,” CHIASMUS Zones of Political and Aesthetic Imagination Exhibition Essay, February 2012 2011 Brooke Hodge, “Iko Iko Goes West,” Seeing ings Blog, The New York Times Style Magazine, August 11, 2011 David Pagel, “Art Review- Julia Haft-Candell at ACME,” Los Angeles Times, May 5, 2011 AWARDS/GRANTS/RESIDENCIES: 2019 California Community Foundation Fellowship for Visual Artists 2012 Investing in Artists Grant, Center for Cultural Innovation, Los Angeles, CA Artists’ Resource for Completion Grant, Center for Cultural Innovation, Los Angeles, CA 2011 Hoff Foundation Grant, Huntington Beach, CA

53

ANNA SEW HOY EDUCATION: 2008 1998

MFA, Milton Avery Graduate School of the Arts, Bard College, Annandale-on-Hudson, NY BFA with Honors, School of Visual Arts, New York, NY

TEACHING EXPERIENCE: 2019– present Associate Professor and Ceramics Area Head, UCLA, Los Angeles, CA 2018 Mentor, MFA Program, Pacific Northwest College of Art, Portland, OR 2017-2018 Lecturer in Ceramics, College of the Arts, California State University, Long Beach, CA 2013-2017 Master Teacher and National Reviewer, National Young Arts Foundation 2015 Lecturer, Summer Practicum, Cal Arts, Santa Clarita, CA 2013 Graduate Lecturer, Department of Art, University of California, Irvine, CA 2012 Graduate Advisor, Roski School of Art and Design, USC, Los Angeles, CA

Visiting Professor of Public Art, with Pearl C. Hsiung, Heart of Los Angeles, Los Angeles, CA 2011-2012 Lecturer in Ceramics, Otis College of Art and Design, Los Angeles, CA 2010 Lecturer in Ceramics, Department of Art, University of California, Los Angeles, CA 2008 Lecturer in Sculpture, Department of Art, University of California, Los Angeles, CA 2007 Lecturer in Ceramics, Department of Art, University of California, Irvine, CA SELECTED SOLO AND GROUP EXHIBITIONS: 2022-23 New Works, San Francisco Museum of Modern Art, San Francisco, CA 2021 Visual Experience, Sokyo Gallery, at Sequence Kyoto Gojo, Kyoto, Japan 2020 Pacific Coast Ceramics, Galeria Mascota, Mexico City, Mexico Semblance/Sunshine, Torrance Art Museum, CA Thinking About Thinking About the Future, Te Uru Art Gallery, Auckland, New Zealand Do You Know Where the Children Are?, The Corner at Whitman-Walker, Washington, DC 2019 Material Properties, curated by Margaret Liu Clinton, Albertz Benda Gallery, New York, NY Superstimulus, a home show organized by Nicola Farquhar, Auckland, New Zealand The Sun is Also a Star, Artist Curated Projects, Los Angeles, CA Fur Cup, Underdonk Gallery, Brooklyn, NY GARB, Williamson Gallery, ArtCenter College of Art and Design, Pasadena, CA entering a song, Koenig & Clinton, New York, NY The Wettest Letter, Various Small Fires, Los Angeles, CA 2018 Blood Moon Proposition, Campbell Hall Art Gallery, Campbell Hall, Los Angeles All Hands on Deck, curated by Kate McNamara, Ben Maltz Gallery at Otis College of Art and Design, Los Angeles, CA NOMAD: Anna Sew Hoy, Amy Yao and Jennie Jieun Lee, Artist Curated Projects, LA Terribly Vulnerable and Terribly Hard, curated by Ashton Cooper, Cooper Cole Gallery, Toronto, Canada HERE, curated by Steven Wong, Los Angeles Municipal Art Gallery, (new work commission) 2017 From Funk to Punk: Left Coast Ceramics, curated by Peter Held, Everson Art Museum, Syracuse, NY

54

2016

2015

2014 2013

2012 2011

2010 2009 2008

2007 2006

2005 2004 2003 2002 2001

Hecate, curated by Sara Hantman, Various Small Fires, Los Angeles, CA Yawnings and Dawnitecture: a tribute to Helio Oiticica, curated by Trinie Dalton, University of California, Redlands, CA Anna Sew Hoy: Psychic Grotto Storefront, Artist Curated Projects, Museum of Contemporary Art: storefront, Los Angeles, CA Invisible Tattoo, Koenig & Clinton Gallery, New York, NY L.A. Exuberance: New Gifts by Artists, Los Angeles County Museum of Art, Los Angeles, CA The Noise of Art, organized by Mari Eastman, Soccer Club, Chicago, IL Occupy Space Differently, Ochi Projects, Los Angeles, CA The Emblematic, Guggenheim Gallery at Chapman University, Orange, CA Freedom Culture, organized by Graham Collins, Journal Gallery, New York, NY Mrs. Benway, Fourteen30 Contemporary, Portland, OR Surface of Color, The Pit, Los Angeles, CA Magnetic Between, Aspen Art Museum, Aspen, CO Fixing a Hole, Koenig & Clinton Gallery, New York, NY Made In LA, Hammer Museum, (included in the Los Angeles Museum of Art’s installation) Prospect 2013, Museum of Contemporary Art San Diego, San Diego, CA Please See American Objects, curated by Eve Fowler, The Apartment, Athens, Greece Touch the Moon, curated by Kristen Lorello, Louis B. James Gallery, New York, NY And How Are We Feeling Today? University Art Gallery, University of California San Diego ACE NO FACE, Various Small Fires, Los Angeles, CA Home Office, Various Small Fires, Los Angeles, CA Tissues &Trench Coats, Romer Young Gallery, San Francisco, CA Flection, curated by Sabrina Buell, Hedge Gallery, San Francisco, CA The More Things Change, San Francisco Museum of Modern Art, CA Paul Clay, Salon 94, New York, NY Greater LA, curated by Eleanor Cayce, Joel Messler, and Benjamin Godsill, New York, NY Nothing All Day: Anna Sew Hoy, San Jose Museum of Art, CA Pass Over, Two Serious Ladies, Night Gallery, Los Angeles, CA Holes, Sikkema, Jenkins & Co., New York, NY Electric Mud, curated by David Pagel, Blaffer Art Museum, Houston, TX An Expanded Field of Possibilities, curated by Miki Garcia, Santa Barbara Contemporary Arts Forum, CA Ridykelous Hits Bottom, Leo Koenig Gallery, curated by Nicole Eisenmann and A.L. Steiner, New York, NY California Biennial 2008, Orange County Museum of Art, Santa Ana, CA Sew Hoy, Lutker, Youngblood, University Art Museum, University of California, Santa Barbara, CA Reskilling, The Western Front, Vancouver, Canada Now You See It, Aspen Art Museum, Aspen, CO You can go your own way, Renwick Gallery, New York, NY Living Flowers, curated by Karin Higa, Japanese American National Museum, Los Angeles, CA Red Wind, Blum & Poe Gallery, Los Angeles, CA look-see, Renwick Gallery, New York, NY POW!, LAXART, Los Angeles, CA hook & eye, Karyn Lovegrove Gallery, Los Angeles, CA Eden’s Edge: Fifteen LA Artists, The Hammer Museum, Los Angeles, CA Exit Music (For a Film), Grimm/Rosenfeld Gallery, Munich, Germany One Way or Another, curated by Karen Higa, Susette Min and Melissa Chiu, Asia Society, New York, NY Tiago Carneiro da Cunha, Julia Kunin, Sterling Ruby, Anna Sew Hoy, Karyn Lovegrove Gallery, Los Angeles, CA Selections from My Wardrobe, Karyn Lovegrove Gallery, Los Angeles, CA Cosmic Wonder, Yerba Buena Center for the Arts, San Francisco, CA Diamond Hand Grenade, Midway Contemporary Art, Minneapolis, MN Sugartown, Elizabeth Dee Gallery and Participant Inc., New York, NY Geode Baroque, curated by Fritz Haeg, Sundown Salon #19, Los Angeles, CA The stars of track and field are beautiful people, Changing Role Move Over Gallery, Naples, Italy The Rules Everyone Will Follow From This Day Forth, Peres Projects broken arm, Peres Projects, Los Angeles, CA Wash My Bike, Massimo Audiello Fine Art, New York, NY Unknown Pleasures, Daniel Reich Gallery, New York, NY Artists on Artists, Ace Gallery, New York, NY Perfunctory, Team Gallery, New York, NY Neutopia, Massimo Audiello Gallery, New York, NY

Selected Performance 2017 Psychic Body Grotto Opening Ceremonies, Los Angeles State Historic Park, Los Angeles, CA 2016 Invisible Tattoo, Dawn Kasper and Laurie Weeks, Koenig & Clinton Gallery, New York, NY Magnetic Between, Anna Sew Hoy and Flora Wiegmann, Aspen Art Museum, Aspen, CO 2013 Planets Making Planets, with Math Bass and Claire Kohne, Human Resources, Los Angeles, commissioned by Los Angeles Nomadic Division, CA 2011 Pass Over, Two Serious Ladies, Night Gallery, Los Angeles, CA

55

2010 2008

Fertility Spell, with Jen Smith, for Meighth Day, organized by Rita Gonzalez, Joseph Mosconi and Scoli Acosta, LAXART California Biennial 2008, Anna Sew Hoy and Flora Wiegmann, commissioned by the Orange County Museum of Art, CA

AWARDS/GRANTS/RESIDENCIES: 2018 Martha Longenecker Roth Distinguished Artist in Residence, Department of Visual Arts, University of California, San Diego, CA 2016–19 Artist in residence, Department of Ceramics, College of the Arts, California State University, Long Beach, CA 2015 Creative Capital Grant for Visual Arts in support of Psychic Body Grotto 2014 Sew Hoy’s Practical Elegance 2013, selected by LACMA’s Art Here & Now Forum for the Museum’s permanent collection 2013 California Community Foundation Emerging Artist Grant 2012 Artist in Residence with Pearl C. Hsiung, Heart of Los Angeles, supported by the Rauschenberg Foundation 2010 Artists’ Resource for Completion Grant, Durfee Foundation, Los Angeles, CA 2006 United States Artists Fellowship, Broad Fellow 2002 Artist in residence of the Space Program, the Marie Walsh Sharpe Art Foundation, New York, NY 1999 Artist in residence, Cerámica Suro, Guadalajara, Mexico PUBLIC COMMISSIONS: 2020 Fast Fashion for a Fallow Land, Candlewood Arts Festival, Borrego Springs, CA Set Notions, Sculpture Park at Art OMI, Ghent, NY Mystery Achievement, University of California, Riverside, CA Slow Moon’s Rose, Compound, Long Beach, CA 2017 Psychic Body Grotto, Los Angeles State Historic Park, produced by Los Angeles Nomadic Division, with a Creative Capital Grant for Visual Arts 2015 2014 Look-See, King’s Road Park, West Hollywood, produced by LAXART PUBLIC COLLECTIONS: Los Angeles County Museum of Art, Los Angeles San Francisco Museum of Modern Art, San Francisco Hammer Museum, Los Angeles San Diego Museum of Contemporary Art, San Diego Art, Design and Architecture Museum, University of California, Santa Barbara Altoids Collection, New York, at the New Museum

56

KAHLIL ROBERT IRVING EDUCATION: 2017

2015

2014 2013

2012

2011

MFA, Sam Fox School of Design and Visual Art, Washington University in St. Louis, St. Louis, MO, Chancellor’s Graduate Fellow BFA, Kansas City Art Institute, Kansas City, MO Certificates in Asian Studies and Social Practice Bezalel Academy of Art and Design, Study Abroad Exchange Program, Jerusalem, Israel University of West Hungary - Sopron, Study Abroad Exchange Program, Kecskemét, Hungary Art on the Edge of Politics, Study abroad to Vietnam, Laos, and Thailand Dreaming in the Magyar, Study abroad to Hungary and the Czech Republic Arcosanti Architecture Travel Program, Arcosanti and Cosanti, Mayer and Phoenix, AZ New York City Residency Program, New York City, NY

TEACHING EXPERIENCE: 2020 Assistant Professor of Visual Art , Maryland Institute College of Art, Baltimore, MD

Graduate Research Committee 2018–19 The Robert Chapman Turner Teaching Fellow

Visiting Artist Committee

Graduate Application Review Committee

Artist in Residence, Visiting Professor, Knox College, Galesburg, IL 2017–18 Alice C. Cole Fellow, Wellesley College, Wellesley, MA SELECTED SOLO AND GROUP EXHIBITIONS: 2021 Counter Flags, Abrons Art Center, New York, NY 2020 Nothing Is So Humble: Prints from Everyday Objects, Whitney Museum of American Art, New York, NY (Works from the collection) Formed and Fired, Anderson Collection at Stanford University, San Francisco, CA America’s Mythic Time, The Luminary, Saint Louis, MO Total Collapse: Clay in the Contemporary Past, Arizona State University Art Museum, Tempe, AZ Rituals of Regard and Recollection, exhibition from the collection of JoAnn Gonzalez Hickey, Macalester College, St. Paul, MN At Dusk, Great Rivers Biennial, Contemporary Art Museum Saint Louis, Saint Louis, MO Mixed Messages (Streets & Screens) AOL and Lottery, Jenkins-Johnson Gallery, San Francisco, CA Ground Water from Screen Falls [(Collaged media)+Midwest] STREET, Contemporary Art Center, Cincinnati, OH 2019 Black ICE, Callicoon Fine Arts, New York, NY Making Knowing: Craft in Art, 1950-2019, Whitney Museum of American Art, New York, NY Every Step in the Right Direction, Singapore Biennial 2019, Singapore Terrain Biennial 2019, The Franklin, Chicago, IL Total Collapse: Clay in the Contemporary Past, Rubin Center for the Arts at UT El Paso, El Paso, TX Printed Reflections, H&R Block Artspace, Kansas City, MO

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2018

2017

2016

2015

2014

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Foresight/Insight Reflecting on the Museum’s Collection, Nerman MOCA, Overland Park, KS Rosebud, Mathew Marks Gallery, Los Angeles, CA Young Sculptors Competition Exhibition, Hiestand Galleries, Miami University, Oxford, OH An eye that tried so hard to see one particular thing that it ended up forgetting everything else, Safe Gallery, New York, NY Counterpublic Triennial, The Luminary, Saint Louis, MO PWI, The CLTV, Memphis, TN Street Matter Decay & Forever / Golden Age, Ezra and Cecile Zilkha Gallery, Center for the Arts at Wesleyan University, Middletown, CT Black Death, STNDRD, Granite City, IL Response, (two-person exhibition with Sandra Ginter) Saint Mary’s College, Notre Dame, IN A Periodic Table: Imagined Spaces, CAC at MCC Pen Valley, Kansas City, MO Veiled, District Clay Gallery, Washington D.C. Reading / Reflection Room, Alfred University NYSCC, Scholes Library, Alfred, NY SEEING BELIEVING HAVING HOLDING, I8 Gallery, Reykjavik, Iceland KCAI Alumni Biennial, Epsten Gallery, Overland Park, KS Former Glory, RISD Museum, Providence, RI Block Party, Jenkins Johnson Projects, Brooklyn, NY Critical Mass: Creative Stimulus Award 2018, Sheldon Art Galleries, Saint Louis, MO They, Clay Art Center, Port Chester, NY Faculty Invitational, Saint Louis University, Saint Louis, MO Melting Point: Movements in Contemporary Clay, Craft Contemporary, Los Angeles, CA Are you dead, yet, Thomas Erben Gallery, New York City, NY Streets: Chains: Cocktails, Callicoon Fine Art, New York City, NY One Step Ahead, (two-person exhibition with Lyndon Barrios Jr.), Arthello Beck Gallery, South Dallas Cultural Center, Dallas, TX Ephemera, Nerman Museum of Contemporary Art, Overland Park, KS Reclamation, TBG, New York City, NY Young Sculptors Competition Exhibition, Hiestand Galleries, Miami University, Oxford, OH Another Country, 50/50, Kansas City, MO Desirable Objects, | Cabinet, David B. Smith Gallery, Denver, CO OVERVIEW_2017, Bruno David Gallery, Saint Louis, MO Almost Now, Just Then…, Projects and Gallery, Saint Louis, MO Frame by Frame, Callicoon Fine Arts, New York City, NY Daisy, Brooklyn, NY MFA17, Mildred Lane Kemper Art Museum, Saint Louis, MO People of Color, People in Clay, Baltimore Clayworks, Baltimore, MD Transparency Shade: Seeing through the Shadow, Projects and Gallery, Saint Louis, MO Attach Files, 50/50, Kansas City, MO Crafting Resistance, Visual Arts Center, Boise State University, Boise, ID Constructed Visions, Saint Louis Artist Guild, Saint Louis, MO Encoded, Gallery of Contemporary Art, Saint Louis Community College at Forest Park, Saint Louis, MO Government Cheese: Addiction, Incarceration, and Violence, Lilstreet Art Center, Chicago, IL Undocumented, Bruno David Gallery, Saint Louis, MO The Blooming Artists Project 2016, Old Orchard Gallery, Webster Groves, MO Multiplicity: Repetition in Contemporary Art, Edwardsville Art Center, Edwardsville, IL MFA Candidacy Exhibition Part #1, Des Lee Gallery, Saint Louis, MO Chromophilia | Chromophobia, Kansas City Art Institute at Grand Arts Gallery, Kansas City, MO Gyorgy’s Life Changing Hungarian Adventure, The Drug Store, Kansas City, MO Art.Work., Westminster Press, Saint Louis, MO Varsity XX, Art Saint Louis, Saint Louis, MO MFA Invitational, Saint Charles Community College, Saint Charles, MO Object nature, Duet Gallery, Saint Louis, MO Alternative Currencies, Vox Populi Gallery, Philadelphia, PA Surface in Tenstion, Techartista, Saint Louis, MO Pentimento, Intersect Art Center, Saint Louis, MO The Marge Brown Kalodner Graduate Student Exhibition, The Clay Studio, Philadelphia, PA From the Earth - Contemporary Ceramics, Edwardsville Art Center, Edwardsville, IL BFA Exhibition, H&R Block Artspace, Kansas City, MO Yet Unfulfilled, Reese Gallery, Saint Louis, MO Designated Areas, Delmar Loop Gallery, Craft Alliance Center for Art and Design, Saint Louis, MO Terra Form, Stern Ceramics Building, Kansas City Art Institute, Kansas City, MO Four Assorted Chocolates, Carter Art Center Gallery, Kansas City, MO Nebraska National Collegiate Juried Art Exhibition, Eisentrager - Howard Gallery, University Nebraska Lincoln, Lincoln, NE IV International Triennial of Silicate Arts, Foundation for Contemporary Ceramics, Kecskemét, Hungary ADDmix, Stern Ceramics Building, Kansas City Art Institute, Kansas City, MO

2013

2012

2011 2010

Undergraduate College Student Juried Exhibition, Kansas City Artist Coalition, Kansas City, MO Progress and Prosperity, Vulpes Bastille, Kansas City, MO National Student Juried Exhibition, National Council of the Education of Ceramic Art, Milwaukee Institute of Art and Design, Milwaukee, WI X, Bezalel Academy of Art and Design, Jerusalem, Israel AHEM #1, Bezalel Academy of Art and Design, Jerusalem, Israel Crossing Skylines, Museum Night, (two-person exhibition with Pernille Kjholdt), Danish Culture Center, Kecskemét, Hungary 8th International Exhibition of Small Porcelain Forms, Riga Porcelain Museum, Riga, Latvia National Student Juried Exhibition, National Council of the Education of Ceramic Art, Glassell School and Museum of Fine Art, Houston, TX Flux, Stern Ceramics Building, Kansas City Art Institute, Kansas City, MO What is Black? Kansas City Art Institute Student Gallery, Kansas City, MO Change for Change, Rag and Bone Gallery, Kansas City, MO 7th International Exhibition of Small Porcelain Forms, Riga Porcelain Museum, Riga, Latvia KILNGOD, International Ceramics Studio, Kecskemét, Hungary XOXO Salon, Spraybooth Gallery, Kansas City, MO Expo 82, Stern Ceramics Building, Kansas City Art Institute. Kansas City, MO Gradient Observation, Vanderslice Hall, Kansas City Art Institute, Kansas City, MO Strata, Stern Ceramics Building, Kansas City Art Institute, Kansas City, MO Young Gifted and Talented, Bruce R. Watkins Cultural Center, Kansas City, MO Arcosanti Architectural and Landscape, Arcosanti, Mayer, AZ National Council of the Education of Ceramic Art K-12, Pennsylvania Convention Center, Philadelphia, PA

PRESS/PUBLICATIONS: 2019 “Every Step in the Right Direction”, Singapore Biennial 2019, Singapore 2018 “Street Matter– Decay & Forever / Golden Age”, Ezra and Cecile Zilkha Gallery, Center for the Arts at Wesleyan University, Middletown, CO 2017 “Almost Now, Just Then…”, Projects and Gallery, St. Louis, MO “Transparency Shade: Seeing through the Shadow”, Projects and Gallery, St. Louis, MO 2016 “Undocumented”, Bruno David Gallery, St. Louis, MO 2014 International Triennial of Silicate Arts, IV Nemzetközi Szilikátművészeti Triennálé, Foundation for Contemporary Ceramics, Kecskemét, Hungary National Juried Student Exhibition Catalog, National Council of the Education of Ceramic Art, Glassell School and Museum of Fine Arts, Houston, TX AWARDS/GRANTS/RESIDENCIES: 2020 Tod Madigen Gallery, California State University Bakersfield, Bakersfield, CA 2018 Art Omi, Ghent, NY Knox College, Artist in Residence and Visiting Professor, Galesburg, IL 2017 University of Pecs, Pecs, Hungary South Dallas Cultural Center, Dallas, TX The Luminary, Saint Louis, MO Gene Slay’s Boy’s & Girls Club of St. Louis, Saint Louis, MO 2016 International Graphics School, Venice, Italy 2013 International Ceramics Studio, Kecskemét, Hungary PUBLIC COLLECTIONS: Art Omi, Ghent, NY Bezalel Academy of Art and Design, Jerusalem, Israel Carnegie Museum of Art, Pittsburgh, PA Collection of Contemporary Ceramic Art, Riga Porcelain Museum, Riga Latvia International Ceramics Studio (ICS), Foundation for Contemporary Ceramic Art, Kecskemét, Hungary JPMorgan Chase & Co. Art Collection, New York City, NY Ken Ferguson Teaching Collection, Kansas City Art Institute, Kansas City, MO Minneapolis Institute of Art (MIA), Minneapolis, MN Nerman Museum of Contemporary Art, Overland Park, KS New Art Dealers Association, New York City, NY RISD Museum, Providence, RI Scuola Internazionale di Grafica (International Graphics School), Venice, Italy Whitney Museum of American Art, New York City, NY Alserkal Avenue Artist Residency Research Library, Dubai, United Arab Emirates Whitney Museum of American Art Special Library Collections, New York, NY

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ANABEL JUÁREZ EDUCATION: 2017 2013

MFA, University of California Los Angeles, Los Angeles, CA BFA, CSU Long Beach, Long Beach CA

TEACHING EXPERIENCE: 2019-20 West Los Angeles College, Culver City, CA 2017-Present CSU Long Beach, Long Beach, CA

Fall 2019, Spring 2020.

SELECTED SOLO AND GROUP EXHIBITIONS: 2021 Hot Concrete: L.A. Arrangement, Saw&Taylor, Los Angeles, CA All That Spring Promises, Tyler Park Presents, Los Angeles, CA Dog Days, The Pit, Palms Springs, CA Cups, Galeria Mascota, México City, México Hot Tropics, La Loma Projects, Los Angeles, CA Hot Concrete: LA Arrangement, Sow & Tailer, Los Angeles, CA All that Spring Promises, Tyler Presents, Los Angeles, CA 2020 Pacific Coast Ceramics, Mascota Gallery, Aspen, CO The Body, The Object, The Other, Craft Contemporary Museum, Los Angeles, CA Xochilta, Five Car Garage, Santa Monica, CA Firewalk, Lefevre & Fils Gallery, Paris, France 2019 Clayborn, Lefevre & Fils Gallery, Paris, France 2018 Blumen Und Tire, Lefevre & Fils Gallery Nada Miami, Miami, FL Dual Vision, Centro Cultural de Mexico en LA (CCCM), Los Angeles, CA Praxis, LBMAX Gallery, Long Beach, CA Lefebvre & Fils Gallery presentation, Material Art, Mexico DF, Mexico Hacer una Isla, Ruberta Gallery, Glendale, CA Lente/Primavera, 5 Car Garage Gallery, Santa Monica, CA 2017 From Funk to Punk: Left Coast Ceramics, Everson Museum of Art, Syracuse, NY Blurred Boundaries, The Couturier Gallery, Los Angeles, CA MFA Thesis Exhibition #2, UCLA New Wight Gallery, Los Angeles, CA Hotel Kalifornia, Lefebvre et Fils Gallery, Paris, France 2016 UCLA MFA Preview 2017 Exhibition, UCLA New Wight Gallery, Los Angeles, CA Always a Body, Glass Box Gallery, University of California Santa Barbara, CA Un Cuento Con Final Inesperado, Lefebvre & Fils Gallery, Paris, France 2015 Highland Park Museum of Ceramic Art, Monte Vista Projects, Monte Vista, CA

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2013 2012

Control and Release, The Earl and Virginia Green Art Gallery, Biola University, CA BFA Thesis Exhibition, Werby Gallery, CSU Long Beach, CA Scape, Dennis W. Dutzy Gallery, California State University Long Beach, CA

PRESS/PUBLICATIONS: Craft Contemporary Museum. The Body, The Object, The Other. Edited by Suzanne Isken, Holly Jerger, Andrez Payan Estrada, Carolina Ellen Liou Los Angeles:Typecraft, 2020. Exhibition catalogue published following The Body, The Object, The Other exhibition at the Craft Contemporary Museum, Los Angeles Dominique Poiret, “Anabel Juarez: Le Monde Dans Un Cactus,” La Revue de la Ceramique et Du Verre, June 2020 Kay Whitney, “Review: The Body, The Object, The Other,” Ceramics Monthly, November 2020 issue AWARDS/GRANTS/RESIDENCIES: 2021 The Archie Bray Foundation of the Ceramic Arts 2019 LBCC Ceramics Artist in Residency 2017 Imagine That! INTENSIVE IV, Summer workshop, CSULB Ceramics Department, Long Beach, CA Graduate Division Award, University of California Los Angeles, CA 2016 The Residency, Versailles, France Elizabeth Heller Mandell Memorial Scholarship, University of California Los Angeles, CA Graduate Division Award, University of California Los Angeles, CA Dean’s Scholarship, University of California Los Angeles, CA 2015 Laura Anderson Scholarship, University of California Los Angeles, CA Lilian Levinson Foundation Scholarship, University of California Los Angeles, CA PUBLIC COLLECTIONS: Sevres Ceramics Museum, Paris, France

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DAVID KATZ EDUCATION: 2012 2009 2005

MFA, Indiana University, Bloomington, IN MA, Post Baccalaureate, University of Massachusetts, Dartmouth, MA BFA, University of Wisconsin, Madison, WI

TEACHING EXPERIENCE: 2018-19 Visiting Professor, Hubei Institute of Fine Art, Wuhan, China

Visiting Critic, Rhode Island School of Design, Providence, RI

Adjunct Faculty, Roger Williams University, Bristol, RI

Adjunct Faculty, Community College of Rhode Island, Providence, RI 2017-18 Assistant Professor of Ceramics, Rhode Island School of Design, Providence, RI 2016-17 Visiting Critic, Rhode Island School of Design, Providence, RI

Adjunct Faculty, Community College of Rhode Island, Warwick, RI

Adjunct Faculty, University of Massachusetts Dartmouth, New Bedford, MA 2015-16 Assistant Professor of Ceramics, Interim Department Head & Graduate Program

Director of Ceramics, Rhode Island School of Design, Providence, RI 2014-15 Visiting Critic, Rhode Island School of Design, Providence, RI

Instructor of Record, Bennington College, Bennington, VT 2013-15 Ceramic Technician, Bennington College, North Bennington, VT 2010-12 Associate Instructor, Indiana University, Bloomington, IN

SELECTED SOLO AND GROUP EXHIBITIONS: 2019 David Katz: Origins, Fitchburg Art Museum, Fitchburg, MA Wuhan International Ceramics Exhibition, Hubei Institute of Fine Art, Wuhan, CN Somewhere in the Sequence, Real Art Ways Gallery, Hartford, CT 2018 Wuhan International Ceramics Exhibition, Hubei Institute of Fine Art, Wuhan, CN Found Again, Manchester Craftsmen Guild, Pittsburgh, PA Rhode Island State Council on the Arts Fellowship Exhibition, Providence, RI Faculty Exhibition, Rhode Island School of Design Art Museum, Providence, RI 2017 Flextime, 3S Artspace, Portsmouth, NH Structure & Growth, Nature Lab, Rhode Island School of Design, Providence, RI 2016 Prime Ceramics, Harry Wood Gallery, Arizona State University, Tempe, AZ Materiality, Methodology, Metamorphosis, Studios Inc, Kansas City, MO From Here to There, Marietta Building, Kansas City, MO Ceramic Selections from 25 Years of Arrowmont Artist-in-Residence Program, Kansas City, MO 2015 The Uncommon Object, University Gallery, UMass Dartmouth, New Bedford, MA State of Clay: Pushing Boundaries, Fuller Museum of Craft, Brockton, MA Constructed, Nightingale Gallery, Eastern Oregon University, La Grande, OR

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2014

2013

2012

2011

2009

RISD Faculty Biennial, Museum of Art, RISD, Providence, RI Reimagined Structure, Arch Contemporary Ceramics, Tiverton, RI Connections, Peeler Art Center, De Pauw University, Green Castle, IN David Katz: Recent Works, Drury Gallery, Marlboro College, Marlboro, VT Visiting Artist: David Katz, Spacelab Gallery, Indiana University Southeast, New Albany, IN Small Favors IX, The Clay Studio, Philadelphia, PA State of Clay, Lexington Arts & Crafts Society, Lexington, MA Reclaimed: Installation, Performance & Site-Specific Works, One Wall Gallery, online platform: onewallgallery.com 20th San Angelo Ceramic Competition, San Angelo Museum of Art, San Angelo, TX Every Which Way, Glassel Studio School, MFA Houston, Houston, TX Connections & Directions, Art League Houston, Houston, TX Annual AIR Exhibition, Arrowmont School of Arts & Crafts, Gatlinburg, TN Resident Exchange, Appalachian Center for Craft, Cookeville, TN Systemic Expansion, Houston Center for Contemporary Craft, Houston, TX Mediated Landscape, Grunwald Gallery of Art, Indiana University, Bloomington, IN Across the Divide, Coconino Center for the Arts, Flagstaff, AZ The American Dream, The Gallery Project, Ann Arbor, MI Small Favors VII, The Clay Studio, Philadelphia, PA Keramic-Biennale 2011, Varazdin, Croatia Land + Scape, Schacht Gallery, Saratoga Clay Art Center, Schuylerville, NY Inside-Out, Internationale Keramik-Biennale 2011, Kapfenberg, Austria Experimental Escapades, The Fuller Project, Bloomington, IN Imagined Communities, The Gallery Project, Ann Arbor, MI International Triennial of Silicate Arts, Cifrapalota, Kecskemét, Hungary Fernisering: Inhabitation, 68 Square Meter Art Space, Copenhagen, Denmark Small Favors VI, The Clay Studio, Philadelphia, PA Boundaries, John Waldron Art Center, Bloomington, IN 5th World Ceramics Bienalle Korea, World Ceramics Center, Icheon, Korea

PRESS/PUBLICATIONS: 2017 “A Clay Date With Found Objects”, Take Magazine, Poornima Apte “Katz’s Push-Pull: The Reality of Impermanence”, Artscope Magazine, Linda Chestney 2015 “Biomorphic Clay Installations By David Katz”, CFile.org, Justin Crowe “Conference|NCECA: The Ceramic Clan Gathers in Providence”, CFile.org, Justin Crowe “Faculty Biennial opens at RISD Museum: A look at three artists”, Providence Journal, Bill Van Siclen 2014 “Reclaimed: Installation, Performance & Site-Specific Works”, One-Wall-Gallery & ArtAxis.org 2013 “A Walk Through Art League’s Four-Part Ceramics Shows”, HoustonPress.com, Meredith Deliso AWARDS/GRANTS/RESIDENCIES: 2019 Ephemerality in Clay, Watershed Center for Ceramic Arts, Newcastle, ME 2018 Artist Lecture, David Katz: Materiality & Meaning, Taoxichuan Art Museum of China, Jingdezhen, China Artist Lecture, David Katz: Time/Temporality, Wuhan International Lecture Series, Hubei Institute of Fine Arts, Wuhan, China Visiting Artist, Rhode Island College, Providence, RI 2017 Fellowship in 3-Dimensional Art, Rhode Island State Council on the Arts Academic Enrichment & Kyobo Fund Grant, Rhode Island School of Design, RI 2016 Artist Lecture, Ceramics Research Center, Arizona State University, Tempe, AZ 2015 Commission, 8 Large Scale Sculptures, Pao Huei Tower, Taichung City, Taiwan 2014 Visiting Artist, Indiana University Southeast, New Albany, INCommission, Large Scale Turkish Vessel Installation, Raffles Hotel, Istanbul, Turkey Commission, Wall Mounted Sculpture, Pao Huei Tower, Taichung City, Taiwan Watershed Center for Ceramic Arts, Newcastle, ME 2013 Commission, 7 Sculptures, Raffles Hotel, Istanbul, Turkey Visiting Artist, School of the Museum of Fine Art Boston, Boston, MA Visiting Artist, Appalachian Center for Craft, Cookeville, TN Visiting Artist, Kennesaw State University, Kennesaw, GA. 2012–13 Arrowmont School of Arts and Crafts, Gatlinburg, TN 2012 Lecture: Landscape of Intervention, Landscape, Space, and Place Conference, Bloomington, IN 2011 Artist Lecture, John Waldron Art Center, Bloomington, IN Guldagergaard, International Ceramic Research Center, Skaelskor, Denmark 2010 Studio Assistant, Chris Gustin Ceramics, Dartmouth, MA Visiting Artist, Heron School of Art, Indianapolis, IN

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SAHAR KHOURY EDUCATION: 2013 2013 1996

MFA, University of California, Berkeley, CA Certificate in New Media, University of California, Berkeley, CA BA, University of California, Santa Cruz, CA

SELECTED SOLO AND GROUP EXHIBITIONS: 2022 CANADA Gallery, New York NY Wexner Center for the Arts, Columbus OH 2021 Myth Industry, Friends Indeed Gallery, San Francisco, CA Possibility Made Real, 12.26 Gallery, Dallas, TX Ceramic Interventions, di Rosa Center for Contemporary Art, Napa, CA 2019 SECA, SFMOMA, San Francisco, CA Afterhours, CANADA Gallery, New York NY Holder, Rebecca Camacho, San Francisco, CA Part and Parcel, San Francisco Arts Commission Gallery, San Francisco, CA Setting Forth by Signs, Interface Gallery, Oakland, CA 2018 Material Futurity, Law Warschaw Gallery, Macalester College, St. Paul, MN Bay Area Now, Yerba Buena Center for the Arts, San Francisco, CA Artwork for Bedrooms, Wattis Institute for Contemporary Arts, San Francisco, CA Digging for Diamonds in the Disco, Club Rhubarb, New York, NY Way Bay, Berkeley Art Museum (BAMPFA), Berkeley, CA 2017 Bow Bow, Canada Gallery, New York, NY They, Luggage Store Gallery, San Francisco, CA 2016 2 x 2, Pro Arts Gallery, Oakland, CA Limb II, Et Al Gallery, San Francisco, CA Everything is Best, Interface Gallery, Oakland, CA 2015 L. Quan Check Cashing and Healing Arts Center, Ratio 3 Pop Up, San Francisco, CA Super Contemporary, Creativity Explored, San Francisco, CA 2014 Fertile Ground, Oakland Museum, Oakland, CA Karla’s Living Room, The Battery, San Francisco, CA Magical Thinking, Root Division, San Francisco, CA Table Setting, Jancar Jones Gallery, Los Angeles, CA 2014 2nd Floor Projects, San Francisco, CA 2013 Richard Shaw Slide Show, short film screened at Jack Hanley Gallery, New York, NY 2012 Fiat Lux Remix, Eisner Award, Pacific Film Archive University of California, Berkeley, CA Murphy & Cadogen Art Awards, San Francisco Foundation and SOMARTS, San Francisco, CA

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2009 2006 2004

2003 2002

Strange Hope, Galeria de la Raza, San Francisco, CA 2nd Floor Projects, San Francisco, CA Collector’s Edition, Triple Base, San Francisco, CA The Bay Area Show,Tangent Gallery, Detroit, MI I dart SF, New Langton Arts, San Francisco, CA Inside of Inside, The Lab, San Francisco, CA Hair Revival, Six Months, Los Angeles, CA The ABCO Creepshow, ABCO Warehouse, Oakland, CA Neo Dandy Cabaret, Conservatory Theatre Center, San Francisco, CA Hot Pink, GLBT Historical Society of Northern California, San Francisco, CA

AWARDS/GRANTS/RESIDENCIES: 2021 Headlands Center for the Arts AIR residency, Sausalito, CA 2019 SECA SFMOMA award, San Francisco, CA 2014 Kala Institute fellowship one month residency, Berkeley, CA 2012 Murphy & Cadogen Contemporary Art Awards, The San Francisco Foundation, San Francisco, CA Eisner Award for Creative Excellence, University of California, Berkeley, CA 2008 Alternative Exposure grant recipient, Southern Exposure, San Francisco, CA

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NATHAN LYNCH EDUCATION: 1999 1997

MFA, Mills College, Oakland, CA BFA, University of Southern California, Magna Cum Laude, Los Angeles, CA

TEACHING EXPERIENCE: 2006–present Chair of Ceramics Program, California College of the Arts, Oakland, CA 2002 Associate Professor of Ceramics, California College of the Arts, Graduate Fine Arts, Oakland, CA 2004-05 Mills College: Visiting Professor of Studio Art, Oakland, CA 2004 Visiting Lecturer, College of Marin, Kentfield, CA 2001 Adjunct Faculty, University of Southern California, Los Angeles, CA SELECTED SOLO AND GROUP EXHIBITIONS: 2021 FLOW, Epperson Gallery, Crockett CA 2019 The Same Larry, A-B Projects, Los Angeles, CA 2018 Seabird Nest Project, University of Hawaii, Manoa, HI 2017 Asleep in the Tanning Bed, Art Works Downtown, San Rafael, CA Intimate Abstractions, Patricia Sweetow Gallery, Oakland, CA Two-Scale, Sonoma State University, Sonoma, CA Duality of Ceramics, Durango Arts Center, Durango, CO 2016 Future of Fixing, Center for Craft Creativity and Design, Ashville, NC Lineage, American Museum of Ceramic Art, Pomona, CA Bird in the Hand, Palo Alto Art Center, Palo Alto, CA A Larger Trophy, The THING Quarterly, San Francisco, CA 2015 Conversations, Paradise Ridge Winery, Santa Rosa, CA 2014 BAY AREA NOW 7, Yerba Buena Center for the Arts, San Francisco, CA Magical Thinking, Root Division Gallery, San Francisco, CA Kilnopening, American Museum of Ceramic Art, Pomona, CA Another High, Rena Bransten Gallery, San Francisco, CA 2013 Traces and Accumulations, Traywick Contemporary, Berkeley, CA The Long Conversation, Southern Exposure, San Francisco, CA 2012 A Way of Fixing Everything, Sierra Nevada College, Incline Village, NV 2011 Breaking Ranks, Headlands Center for the Arts, Sausalito, CA 2010 Respect Yourself, Curiosity Shoppe, San Francisco, CA Presidio Habitats, Park Presidio, San Francisco, CA 2009 Contemporary Sculpture, Western Colorado Center for the Arts, CO 2008 Dead Spaces, Overhung 4, Lobot Gallery, Oakland, CA Hopeless and Otherwise, Southern Exposure, San Francisco, CA 2007 Everything’s Going South, Johansson Projects, Oakland, CA Between Courses, Southern Exposure, San Francisco, CA

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2005 2004

2003 2001

Highball or Hail Call, Jackson Street Gallery, San Francisco, CA The Sweetspot, Museum of Contemporary Art, Santa Rosa, CA Together and Alone, Santa Ana College, Santa Ana, CA Undercover, Richmond Art Center, Richmond, CA Election 2004: The State of the Union, Sante Fe Clay, Santa Fe, NM The Hunt: Ritual and Narrative, Sun Valley Center for the Arts, Sun Valley, ID Untethered, Southern Exposure, San Francisco, CA Petting Zoo, Art Basel, Miami, FL Visual Lexicon, El Camino College Art Gallery, Torrance, CA

Performances 2017 Two-Scale, Sonoma State University, Sonoma, CA 2014 Dead Reckoning: Short Stories, Yerba Buena Center for the Arts, San Francisco, CA 2011 Five Artists, Six Stories, Harrison Street Studios, San Francisco, CA 2009 40 Minutes, 16 stories, Project Artaud, San Francisco, CA 2007 Between Courses: Pie Delivery, Southern Exposure, San Francisco, CA 2003 The Lowtones: Chamber Music, Lincoln Center, New York, NY 2003 Where is Your Wheel?, Fringe Festival, Edinburgh, Scotland 2003 The Fountain Etudes, Taplin Concert Hall, Princeton University, Princeton, NJ 2002 Airpocket: THREE HOLE PUNCH, Headlands Center for the Arts, San Francisco, CA 2000-07 Where is Your Wheel?; VT, NH, New York, NY, San Francisco, CA PRESS/PUBLICATIONS: Lynch, Nathan. “Ceramics in the 21st Century,” Art Ltd., March 2016, essay p. 54.

Porges, Maria. “Another High at Rena Bransten Projects,” Art Ltd., July 2014.

Cooper, Ashton. ‘“Bay Area Now” Proposes a Refreshing Biennial Model’. Blouin Art Info. July 24, 2014 SPARK, KQED Public Television, July 2, 2003 Baker, Kenneth. “Sculptor Lynch’s ‘Where is Your Wheel?’” San Francisco Chronicle, B10, May 12, 2001.

Baker, Kenneth, “More ‘Close Calls’ at Headlands,” San Francisco Chronicle, D1, Jan.20, 2004.

Bauer, Ian. “Big wheel keep on turnin’,” The Montclarion, pA1, A10, Feb. 23, 2001. (reproduction) Berry, Colin. “SubAnatomy and Nathan Lynch at MOCA”, Vol. 36, #6, July 2005,.

Berry, Colin. “Untethered,” KQED radio, California Report, March 26, 2004.

Koppman, Debra. “UNDERCOVER,” Artweek, p. 5, June 2004.

Lubin, Erin. “Just Looking,” Marin Independent Journal, C3, January 19, 2004.

Meade, Fionne. “Fashion is Heavy Accessories”, Fashion is Art (p.20, 2003.

“Room For The Longest Word”, EastBay Express, Billboard Opener Oct 2, 2002.

Feature Friday, San Francisco Chronicle, Datebook, September 27, 2002.

Van Proyen, Mark. “’Close Calls’ at Headlands Center for the Arts,” Artweek, p. 14, April 2004.

AWARDS/GRANTS/RESIDENCIES: 2021 Wildlife Conservation Society 2018 NEA Art Works Grant 2014 Wauson Fellowship, FOR-SITE Foundation 2013 Anderson Ranch Arts Center, Snowmass, CO 2011 Headlands Center for the Arts, Sausalito, CA 2011 Chalkhill Residency, Healdsburg, CA 2010-12 Exploratorium, San Francisco, CA 2007 Tainan National University of the Arts, Taiwan 2007 Southern Exposure, San Francisco, CA 2000 Vermont Studio Center, Johnson, VT

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ANNABETH ROSEN EDUCATION: 1981 1979

MFA, Cranbrook Academy of Art, Bloomfield Hills, MI BFA, New York State College of Ceramics at Alfred University, Alfred, NY

TEACHING EXPERIENCE: 1997-present University of California Davis, Robert Arneson Endowed Chair, 1993-97 Bennington College, Bennington, VT 1990-93 The University of the Arts, Philadelphia, PA 1989-92 Tyler School of Art at Temple University, Elkins Park, PA 1990-91 Rhode Island School of Design, Providence, RI 1991 School of the Art Institute of Chicago, Chicago, IL SELECTED SOLO AND GROUP EXHIBITIONS: 2021 Annabeth Rosen, OVR Art Basel, Art Basel Art Fair, Online Annabeth Rosen Viewing Room, PPOW Gallery, New York, NY Possibility Made Real, 12.26 Gallery, Dallas, TX 2020 Craft School, Shelter in Place Gallery, Boston, MA Object & Thing Art Fair/Independent Art Fair, New York, NY Untitled Art Fair, Anglim Gilbert Gallery, San Francisco, CA Fables, Virginia Museum of Fine Arts, Richmond, VA 2019 Fired, Broken, Gathered, Heaped, The Contemporary Jewish Museum, San Francisco, CA ADAA Art Fair at the Armory, Park Avenue Armory, New York, NY, P·P·O·W Gallery, New York, NY, Anglim Gilbert Gallery, San Francisco, CA Mike Kelley and David Ireland: Acts and Sites, Elaine L. Jacobs Gallery, Wayne State Museum, Detroit, MI 2018 The Faenza Prize & Exhibition, 60th Anniversary, Museo Internationale Della Ceramiche, Faenza, Italy. The American Academy of Arts and Letters, New York, New York (award winner) I Had the Landscape in my Arms, Josh Lilley Gallery, William Pym curator, London, England Contraptions, The Contemporary Jewish Museum, San Francisco, CA The Brain is Wider than the Sky, EXPO Chicago, Anglim Gilbert Gallery, Chicago, IL Molding /Mark-Making: Ceramic Artists and Their Drawings, Dorsky Gallery, Curatorial Projects, Long Island City, NY Fired, Broken, Gathered, Heaped, Cranbrook Academy of Art, Cranbrook Museum, Bloomfield Hills, MI 2017 Fired, Broken, Gathered, Heaped, Contemporary Arts Museum Houston, Houston, TX Tie Me to the Mast, P·P·O·W Gallery, New York, NY Summer Color II, Anglim Gilbert Gallery, San Francisco, CA Frieze Art Fair Untitled, Anglim Gilbert Gallery, San Francisco, CA January 2017 2016 Passion & Obsession, The Kaneko, Omaha, NE Miami /Basel, Miami Beach Convention Center, Miami Beach, FL Untitled Art Fair, Miami Beach, FL

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2015

2014

2013 2012

2011

2010

2008 2007 2006 2005

2004

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2002

The New Now, Sherry Leedy Gallery, Kansas City, MO EXPO CHICAGO, Anglim Gilbert Gallery, Navy Pier, Chicago, IL Untitled Art Fair: MIAMI, Anglim Gilbert Gallery, Miami Beach, FL The Conversation UCD Art Dept, Art Silicon Valley/San Francisco, San Mateo Convention Center, San Mateo, CA Showing Off: Recent Acquisitions, Denver Art Museum, Denver, CO Human Moments: 7 Sculptors, Cade Tompkins Projects, Providence, RI Defying Gravity, Sun Valley Art Center, Ketchum, ID ‘Retrospective’ Gallery Paule Anglim, San Francisco, CA Annabeth Rosen, Myhren Gallery, Denver University, Denver, CO Annabeth Rosen, Ventana 244, Brooklyn, NY Miami Project Art Fair, Gallery Paule Anglim, Miami, FL The Invitation UCD Art Dept, Art Silicon Valley/San Francisco, San Mateo Convention Center,San Mateo, CA Annabeth Rosen/Dean Smith, Gallery Paule Anglim, San Francisco, CA Clay Heavies, The Renwick Group, Trax Gallery, Berkeley, CA Out Right, Trax Gallery, Berkeley, CA MUCK: Accumulations, Accretions and Conglomerations, Arizona State Art Museum, Tempe, AZ Off Center: Mavericks, Misfits and Heretics, DeLind Gallery, Milwaukee, WI Chance Directions, Ventana 244 Gallery, Brooklyn, NY New Blue and White, Museum of Fine Arts Boston, Boston, MA Nature-Morphic, First Street Gallery, Humboldt State University, Arcata, CA Common Bond, Center for Contemporary Art, Sacramento, CA Annabeth Rosen, Gallery Paule Anglim, San Francisco, CA Hidden Treasures II, The Berkeley Art Center, Berkeley, CA 20 Years Strong, Women Made Gallery, Chicago, IL Contemporary Ceramics, Stremmel Gallery, Reno, NV Memorial Show, City University, Hunter College, NY, New York, and Coastal Maine Botanical Gardens, Boothbay, ME Earth and Alchemy, Massachusetts College of Fine Art, Boston, MA New World, IAC at the Santa Fe Museum of Art, Santa Fe, NM Doceo Argilla, Sonoma Community Center, Sonoma CA The Anxiety of Influence, CU Art Museum, University of Colorado Boulder Art Museum, Boulder, CO Overthrown: Clay Without Limits, The Denver Art Museum, Denver, CO Mercurial Objects: Luxuriant Obsession, Schick Art Gallery, Skidmore College, Saratoga, NY Annabeth Rosen, Meulensteen, Project Space, New York, NY Contingency, Fleisher /Ollman Gallery, Philadelphia, PA Thirty Years of Collecting: A Recent Gift to the Museum, Scottsdale Museum of Art, Scottsdale, AZ Cross Currents in 20th Century Art, The Wollman Collection, Currier Museum, Manchester, NH It was 20 years ago today....., Northern Clay Art Center, Minneapolis, MN Arms Length In: Ceramics & the Treachery of Objects in the Digital Age, Williamson Gallery, Claremont, CA Annabeth Rosen, Gallery Paule Anglim, San Francisco, CA The Good, The Bad and The Ugly, New Langton Arts, San Francisco, CA Contemporary Ceramics: Invitational, Dairy Barn Arts Center, Athens, OH CRUDER, Hoffman Gallery, Lewis and Clark College, Portland, OR (catalog) Flatlanders: Regional Round Up, The Nelson Gallery, UC Davis, Davis, CA Annabeth Rosen, Fleisher/Ollman Gallery, Philadelphia, PA Ceramics Invitational 2005, Texas A&M University, Commerce, TX Vanitas, Lacoste Gallery, Concord, MA CONJUNCTION, Schein-Joseph International Museum, NYS College of Ceramics, Alfred, NY Diverse Domain-Contemporary North American Ceramic Art, Yingge Ceramics Museum, Taipei, Taiwan Gallery Artists Summer, Sherry Leedy Contemporary Art, Kansas City, MO Cranbrook to Lancaster and Back, Network Gallery, Cranbrook Museum of Art, Bloomfield Hills, MI STRATA, Skulpturens Hus, Stockholm, Sweden (catalog) The Toki Collection, Diablo Valley College, Pleasant Hill, CA Raw, Santa Fe Clay, Santa Fe, NM Standing Room Only, The 60th Scripps Ceramic Annual, Williamson Gallery, Claremont, CA Because the Earth is 1/3 Dirt, Boulder University Museum, Boulder, CO Bay Area Ceramic Sculptors: Second Generation, The Daum Museum, Sedalia, MO North American Ceramic Sculpture Now, Hand Workshop Art Center, Richmond, VA Intuitive Balance, Nancy Margolis Gallery, New York, Chicago, IL Crossing Traditions, Trax Gallery, Berkeley, CA The Other Side, b. sakata garo gallery, Sacramento, CA Now & Now, Second World Ceramic Biennial, Icheon World Ceramic Center, Icheon, South Korea Moving in Place, Nancy Margolis Gallery, New York, NY Vignettes: Modern & Contemporary Art, CU Art Galleries Univ of CO, Boulder, CO Small is Beautiful, Frank Lloyd Gallery, Los Angeles, CA American Ceramics 1950-1990, Kyoto Museum of Art, Kyoto, Japan Material Speculations, H&R Block ArtSpace, Kansas City, MO

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New Acquisitions, The Crocker Museum, Sacramento, CA Breaking the Plane, Northern Clay Art Center, Minneapolis, MN Ornamentia, Debra Norris Gallery, Kansas City, MO Ceramic National 2000, The Crocker Museum, Sacramento, CA The Snake in the Garden, Aberystwyth Arts Centre, Aberystwyth, Wales Traveling: Collins Gallery, University of Glasgow, Scotland, Tullie House Museum, Carlisle, England, Midlands Arts Center, Birmingham, England, Hove Museum and Art Gallery, England, Victoria Art Gallery, Bath, England Objects of Agency, Scripps Invitational, Claremont, CA World Ceramic Exposition, Seoul, South Korea Reunion: Alfred Graduates, The Clay Studio, Philadelphia, PA Artist’s Tiles, Beyond Tradition, Pence Gallery, Davis, CA Annabeth Rosen and Sandy Simon, TRAX Gallery, Berkeley, CA Mendocino Genome Project, Mendocino Art Center, Mendocino, CA A Luscious Symmetry, John Michael Kohler Art Center Museum, Sheboygen, WI Years of Sculpture, Fleisher/Ollman Gallery, Philadelphia, PA From Dust to Decadence, Boehm Gallery, Palomar College, San Marcos, CA Contemporary Ceramic Art: A Survey, Harvey Meadows Gallery, Aspen, CO Patterns and Rhythms, Los Angeles Municipal Art Gallery, Los Angeles, CA Full and Spare, Florida State University of Art Museum, Tallahassee FL Ceramic National 2000, Everson Museum, Syracuse, NY Traveling: Samuel P. Harn Museum, Gainesville, FL; Crocker Art Museum, Sacramento, CA Color and Fire: Defining Moments in Contemporary Ceramics, LA County Museum, Los Angeles, CA Kemper Museum of Art, Kansas City; Tucson Art Museum, Tucson, AZ, Memorial Art Gallery, Rochester, NY Dorothy Weiss Collects, Folk Art Museum, San Francisco, CA Muscle: The Power of View, The Boulder Museum of Contemporary Art, Boulder, CO Magic and Ritual: Hanukkiahs Through Contemporary Eyes, Steinbaum Krauss Gallery, New York, NY Traveling: The Jewish Community Center, Boca Raton, FL San Francisco International Art Exposition, Dorothy Weiss Gallery, Herbst Pavilion, San Francisco, CA White Ware, Pewabic Pottery, Detroit, MI Celebrating Fleisher Challenge at 20, Fleisher Art Memorial, Philadelphia Museum of Art, Philadelphia, PA On and Off the Wall, Ann Nathan Gallery, Chicago, IL Haystack, Blue Heron Gallery, Deer Isle, ME Sotheby’s Special Exhibition and Prize, Joan Miro Foundation, Majorca, Spain New Work, Nason Williams, Madras, NM Gallery Artists, Group Show, Yezerski Gallery, Boston, MA Ceramic Still Life: The Common Object, Oliver Art Center, Oakland, CA Gallery Artists, Dorothy Weiss Gallery, San Francisco, CA New England Ceramics, The Boston Athenaeum, MA New (York) Visions, David Beitzel Gallery, New York, NY The Narrated & Decorated Surface, with Peter Gourfain, Greenwich House Pottery, NY Gallery Artists, Dorothy Weiss Gallery, San Francisco, CA Nature, Revolution, Ferndale, MI Gallery Artists, Revolution, Ferndale, MI Watershed: The Historical Present, Maine Coast Artists, Portland, ME Contemporary Ceramics, Erector Square Gallery, New Haven, CT The American Way, British Exhibition Traveling: Canolfan Y Celfyddydau Arts Center, Abersytwyth, Wale; Wrexham Library Arts Center, Gwynedd, Wales; Howard Gardens Gallery, Cardiff, Wales; Manchester City Art Galleries, Manchester, England; Royal Festival Hall, London, England Artists on Their Own, Greenwich House Pottery, New York, NY Contemporary Clay -1993, Usdan Gallery, Bennington College, Bennington, VT Ceramics, Jessica Berwind Gallery, Philadelphia, PA New Ceramics, Abington Friends School, Abington, PA Ceramic Work, Cheltenham Center for the Arts, Cheltenham Art Center, Cheltenham, PA Objects, Jessica Berwind Gallery, Philadelphia, PA Artists Market Scholarship Winners II 1978-1988, Detroit Artist’s Market, Detroit, MI Group Show: Gallery Artists, Jessica Berwind Gallery, Philadelphia, PA Clay, The Cooper Gallery, Manalapan, FL Scripps Invitational, Lang Gallery, Scripps College, Claremont, CA Artists Finalists, Challenge Exhibits 89, 90, 91, Provident National Bank, Philadelphia, PA 41 Ceramic Artists, Usdan Gallery, Bennington College, Bennington, VT Wexner Gallery, Ohio State University, Columbus, OH Fired Up: Clay in the East, Levy Gallery, Moore College of Art, Philadelphia, PA Alternative Worksite Ceramics & Sculpture, NCECA Exhibition, Syracuse, NY Resident Artists Group Exhibition, The New Gallery, Alternative Worksite, Omaha, NE Costumes, Props and Performances, The Fabric Workshop, New York, NY Works on Paper, Albright-Knox Museum, Buffalo, NY

AWARDS/GRANTS/RESIDENCIES: 2021 UC Davis Chancellor’s Innovation Awards/ Lifetime Achievement Awards in Innovation 2020 American Craft Council Fellow 2018 Guggenheim Fellow American Academy of Arts and Letters Gwendolyn Knight Lawrence Award Cranbrook Academy of Art, Alumni of the year Award 2016 USA Artists Fellowship 2012 Watershed Center for the Ceramic Arts, Edgecombe, ME 2011 Joan Mitchell Foundation Painters and Sculptors Award 2004 The Borofsky Center, University of the Arts, Philadelphia, PA 1997 & 2003The Fabric Workshop, Philadelphia, PA 2000 University of California Davis Chancellors Fellow 1992 Pew Fellowship in the Arts 1984 The Fabric Workshop, New York, NY PUBLIC COLLECTIONS: Virginia Museum of Fine Arts San Francisco Museum of Fine Arts Archives of American Art, Washington, DC Museum of Fine Arts Boston Denver Art useum Scottsdale Museum of Art, AZ The Arkansas Art Center, Little Rock Microsoft Corporation, Redmond, WA The KANEKO, Ceramic Art Museum, Omaha, NE University of Colorado Art Museum, Boulder, CO Fred Jones Jr. Museum of Art, University of Oklahoma The Daum Museum, Sedalia, MO The Crocker Museum of Art, Sacramento, CA The Sheraton Grand, Sacramento, CA The Everson Museum, Syracuse, NY The Nora Eccles Harrison Museum, Salt Lake City, UT The Philadelphia Museum of Art, Philadelphia, PA The Shein-Joseph Museum of Ceramic Art, Alfred University, Alfred, NY The Los Angeles County Museum, Los Angeles, CA The Oakland Museum of Art, Oakland, CA The Canolfan and Celfyddydau Art Center, Aberystwyth, Wales Leonard & Helen Evelev, Philadelphia, PA

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NICOLE SEISLER EDUCATION: 2011 2004

MFA, School of the Art Institute of Chicago, Chicago, IL BFA, School of the Museum of Fine Arts, Boston, in affiliation with Tufts University, Medford, MA

TEACHING EXPERIENCE: 2021 Part-Time Lecturer of Ceramics, University of Washington, Seattle, WA

Summer Faculty, Ox-Bow School of Art & Artists’ Residency, Saugatuck, MI 2020–Present Visiting Professor of Ceramics, University of California Los Angeles, Los Angeles, CA 2019–20 Adjunct Instructor of Ceramics, Pasadena City College, Pasadena CA 2014–20 Program Mentor, Low Residency MFA Program, School of the Art Institute of Chicago, IL 2018–19 Adjunct Instructor of Ceramics, California State University San Bernardino,CA 2018–19 Adjunct Instructor of Ceramics, Chaffey College, Rancho Cucamonga, CA 2015–18 Full–Time Lincoln Visiting Professor of Ceramics, Scripps College and

Claremont Graduate University, Claremont, CA 2014–15 Full-Time Lecturer of Ceramics, University of Washington, Seattle WA 2013–14 Lecturer of Foundations, Contemporary Practices Department,

School of the Art Institute of Chicago, IL 2013–14 Adjunct Instructor of Ceramics, Lake Forest College, IL 2011–14 Lecturer of Ceramics, School of the Art Institute of Chicago, IL SELECTED SOLO AND GROUP EXHIBITIONS: 2021 Hand Pressed Souvenirs: Two or Three Block, American Museum of Ceramic Art (AMOCA), Pomona, CA Wedging Words (public project), Art Gallery Burlington, Ontario, Canada Social Recession (invited artist by curator Shannon Stratton), NCECA Annual Exhibition 2020 Superscope, Cypress College, Cypress, CA The Body, The Object, The Other, Craft Contemporary, Los Angeles, CA Catalyst, Cherry Gallery, Richmond, VA Recipes for Conceptual Clay (in the time of covid-19) 2019 Holding Patterns, Ash Street Project, Portland, OR Crisis of the Cylinder, Board of Photography, Los Angeles, CA Holding Patterns, MPSTN, Chicago, IL Open Space, Backspace LA, Los Angeles, CA 2018 The Form Will Find Its Way, NCECA Annual Exhibition, Katherine E. Nash Gallery, Minneapolis, MN 2017 Excavations, , Rio Hondo College Art Gallery, Whittier, CA Submissive Exhibitions, Sub-Mission Gallery, Chicago, IL California Clay, Davis Artery, Davis, CA Social Objects, C3: Initiative, Portland, OR Hand Pressed Souvenirs: Airbnb San Francisco Collection (commission for permanent installation),

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Airbnb Headquarters, San Francisco, CA The Places We Built, Gallery 1855, Davis Cemetery, Davis, CA Trompe L’oeil, CMA Gallery, University of Washington, Seattle, WA Migratory Impressions, Cuchifritos Gallery, Brooklyn, NY Satellite Collections, Earthbound Moon Organization, TX and IL The Conversation, Synesthesia Festival, Portland, OR Souvenir Walk, Seattle Art Museum Sculpture Park, Seattle, WA Winter Works on Paper, Art on Paper Fair, New York, NY Winter Drawing Show, Wholman Gallery, New York, NY Paramatta Souvenirs, Tusculum Association of Architects, Sydney, Australia Ideabombing Sydney #7: City Lounge, Customs House, Sydney, Australia Souvenirs Walk: Parramatta, Sydney Architecture Festival, Australia Art in Odd Places: The Artifacts—selected ephemera, Satellite Governor’s Island Art Fair, New York, NY I am What I’m Doing, La Esquina Gallery, Kansas City, MO White Room Rebellions, Jazz Gallery Center for the Arts, Milwaukee, WI Use the Buddy System, E St. Gallery, Sacramento, CA Faculty Show, Sonnenschein Gallery, Lake Forest IL Gestate, Arts Incubator, Chicago, IL Constructing the Intangible, ACRE Projects, Chicago, IL Of Walking, Museum of Contemporary Photography, Chicago, IL Mini Exhibitionathon II, Society of Smallness, Chicago, IL Fleeting, Indi Go Gallery, Champaign, IL Moment to Moment, Flash Atolye, Izmir, Turkey Satellite Show, Art Basel Miami Davis, CA ACRE Projects Select Preview, MDW Fair, Chicago, IL No Rules: Contemporary Clay, Elmhurst Art Museum, Elmhurst, IL City Souvenirs: Division St. Collection, Out of Site, Chicago, IL Evanston and Vicinity Biennial, Evanston Art Center, Evanston, IL Territorial Testimonies, Grace Space Exhibitions, Brooklyn, New York 30 Ceramic Sculptors, John Natsoulas Gallery, Davis, CA New Work, Alto Galleria, Brussels, Belgium Experience is Never Unattached, Sullivan Gallery, Chicago, IL Bundled A-Part: MFA Thesis Exhibition, Wabash Street Gallery, Chicago, IL Peeling Places, Gallery X, Chicago, IL City Souvenirs: Magnificent Mile Collection, Chicago Artists Month, Chicago, IL City Souvenirs: 14th St. Collection, Art in Odd Places Festival, New York, NY City Souvenirs: Hyde Park Collection, Op Shop, Hyde Park, IL Tracing Eames, NEXT Chicago, Art Chicago, IL Learning Modern, Sullivan Galleries, Chicago, IL A Trump in the Dark, Armory Arts Center, West Palm Beach, FL Out in the Studio (commission for temporary public installation), Fort Point Arts Community Public Art Commission, Boston, MA Construction: Paper, FPAC Gallery, Boston, MA Paper X3, Gary L. Freeburg Gallery, Soldotna, AK Isolated Incidents, Distillery Gallery, Boston, MA Smaller is Better, Schiltkamp Gallery, Worcester, MA 10x10, Lake Worth Storage, West Palm Beach, FL Combined Talents Competition, Museum of Fine Arts, Tallahassee, FL Common Thread, First Night, Boston, MA On Point I, FPAC Gallery, South Boston, MA F.E.A.R (For Embracing American Revolution), GASP, Brookline, MA In Between, William Morris Hunt Library, Boston, MA Out of the Frame: Museum Translations, Museum of Fine Arts, Boston, MA InfraSculpture, Museum of Fine Arts, Boston, MA In the Bank Vault, Boston Private Bank and Trust Co., Boston, MA

PRESS/PUBLICATIONS: 2021 X-TRA MAGAZINE “La Vita Nuova” review by Georgia Lassner 1/10/21 2020 LA Times “Coronavirus closed Craft Contemporary’s biennial, but it can’t stop our love of the art” review by Leah Ollman 3/14/20 LA Weekly “Malleability As Metaphor: The Body, The Object, The Other At Craft Contemporary” review by Anne Wallentine 3/5/20 AEQAI “Amid Social Distancing, Clay is a Unifying Medium” 3/28/20 Ceramics Monthly “The Body, The Object, The Other” by Kay Whitney 11/2020 2019 Board of Photography “Crisis of the Cylinder” published critical essay 2018 Maake Magazine “Artist-Run Feature in Clay Edition: A-B Projects” (forthcoming) LA Times “Ceramic Art, once seen as mere craft, wins a brighter spotlight in the L.A. scene” 4/25/18 2017 The Davis Enterprise “The Places We Built on display at Gallery 1855” 8/2/2017

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2006 2005

ARTFCITY “Pussy Grabs Back For Planned Parenthood In “Nasty Women” At Knockdown Center” 1/16/17 Social Objects publication by the Socially Engaged Craft Collective 2/16/2017 2016 art ltd. Magazine “Ceramics in the 21st Century” 3/01/2016 New York Times “10 Galleries to Visit on the Lower East Side” 4/16/15 Hyperallergic “Impressions of New York City Streets Captured in Clay” 4/2/15 Ceramics Monthly “No Rules: Contemporary Clay” 4/13 The California Aggie “Satellite Show” 11/29/12 Chicago Talks “Chicago Artists Month Will Keep you Busy (featuring City Souvenirs)” 10/3/10 Time Out New York “Chance (featuring City Souvenirs)” 9/27/10 Palm Beach Arts “Paper Exhibit at Trump club targets homelessness” 5/16/09 Palm Beach Daily News “New twist for Armory Art Center” 5/20/09 The Daily Free Press,”Charity Chiselers Freeze out Competition”, 02/17/09 WHDH Channel 7 News, “Chisels and Chainsaws Competition”, 2/17/09 The Daily Metro Boston, “North End Ice Carving Competition”, 2/17/09 Boston Herald, “Ice Breaker”, 2/17/09 Tufts Daily News, “Isolated Incident is Innovative and Oddly Funny”, 11/25/08 The Boston Globe, “First Night Boston 2007”, 1/01/08 Closer Magazine, “Rainy Day Artists 10x10”, 11/17/07 Palm Beach Daily News, “Art Moves into New Home in Storage”, 10/19/07 artMatters, “Across the Street”, Spring 2006 The Daily Metro Boston “Quite a Freeze, Ice Sculpture Contest on Display.” 02/19/07 and 2/20/07 JSONS, “Fort Point Artists Hope to Strengthen Community with New Art Exhibit.”, 06/13/06 The Daily Metro Boston, “Chipping Away” 2/21/06 Fox 25 News at 5 “Chisels and Chainsaws at the MFA”, Boston. 2/21/05 artsMEDIA, “From Flutes to Gourds.” 9/20/05 The Boston Globe, “Art Gets Angry.” 11/02/05 The Dig, “F.E.A.R at G.A.S.P.” 11/02/05 The Boston Globe, “High Alert; Locally and Nationally, Artists Are Exploring the Country’s Amplified State of Anxiety.” 10/30/05

AWARDS/GRANTS/RESIDENCIES: 2019 Visiting Artist in Residence, Ash Street Project, Portland, OR Artist-in-Residence, Earthbound Moon, Eugene, OR 2017 Faculty Research Grant, Scripps College, Claremont, CA Commission for Programming and Permanent Installation, Airbnb Headquarters, San Francisco, CA 2016 Faculty Research Grant, Scripps College, Claremont, CA 2015 Creative Catalyst Finalist, Los Angeles Department of Transportation, Los Angeles, CA Professional Development Network Grant, Scripps College, Claremont, CA 2014 Exhibition Grant, Manhattan Community Arts Fund, New York, NY 2012 Artist of the Month, Elmhurst Academy, Elmhurst, IL Juror’s Choice Award, Evanston and Vicinity Biennial, Evanston Art Center, Evanston, IL Maria Scholarship for attendance of ACRE Residency, ACRE Projects, Chicago, IL Artist-in-Residence, ACRE Projects, Chicago, IL 2011 Craft Forward Conference Symposium Speaker, California College of Art, San Francisco, CA Leonore Annenberg Foundation Fellowship Finalist, School of the Art Institute of Chicago, Chicago, IL 2008 Public Art Grant, Fort Point Arts Community, Boston, MA Blanche E. Colman Award Finalist, Blanche E. Colman Trust, Boston, MA 2007 Commission for First Night Boston, City of Boston Public Art, Boston, MA 2004 Alice Pratt Travel Grant, awarded for one month of travel to Japan, School of the Museum of Fine Arts, Boston, MA Dluhy Grant. Awarded for public art installation in Philadelphia, School of the Museum of Fine Arts, Boston, MA Stella and Summer Cooper Award, School of the Museum of Fine Arts, Boston, MA

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LINDA SORMIN EDUCATION: 2003 2001 1993

MFA, New York State College of Ceramics at Alfred University, Alfred, NY Diploma, Ceramics, Sheridan College, Oakville, ON BA, Andrews University, Berrien Springs, MI

TEACHING EXPERIENCE: 2019–present Associate Professor, New York University, New York, NY 2016–19 Professor, New York State College of Ceramics at Alfred University, Alfred, NY 2012–16 Professor, Head of Ceramics, Sheridan College, Craft and Design Program, Oakville, ON 2010–11 Associate Professor, Head of Ceramics, Rhode Island School of Design, Providence, RI 2006–09 Assistant Professor, Graduate Coordinator, Rhode Island School of Design, Providence, RI 2005–06 Assistant Professor, Head of Visual Arts, Emily Carr Institute of Art and Design, Vancouver, Canada 2003–05 Assistant Professor, Head of Ceramics, Emily Carr Institute of Art and Design, Vancouver, Canada SELECTED SOLO AND GROUP EXHIBITIONS: 2022 Women Working with Clay, Hollins University, Roanoke, VA 2021 Ceramics in the Expanded Field: Sculpture, Performance and the Possibilities of Clay, MASS MoCA, North Adams, MA Inter/Ruptures, United Contemporary, Toronto, Canada 2020 Linda Sorrmin and Gail Wight, Patricia Sweetow Gallery, San Francisco, CA Nature/Nurture, Ferrin Contemporary, North Adams, MA 2019 Ceramic Momentum, Copenhagen Ceramics group exhibition, CLAY Museum of Ceramic Art Denmark, Middelfart, Denmark Nordic Craft and Design, Manchester Art Gallery, Manchester, UK Tony Marsh, Linda Sormin, Nancy Selvin, Patricia Sweetow Gallery, San Francisco, CA 2018 Fierce Passengers, Carleton University Art Gallery, Ottawa, CA 2017 Second Chances: Ceramic Arts of China, Norway, Denmark and Canada, Wuchangshuo Memorial Hall, Shanghai, China Fête: 50 Years of Sheridan’s Craft and Design Program, Living Arts Centre, Mississauga, Canada ART|JOG 10: Changing Perspective, Jogja National Museum, Yogyakarta, Indonesia The Evocative Garden, NCECA Annual Exhibition, Disjecta Contemporary Art Center, Portland, OR 2016 Core Sample, Inaugural Exhibition, Alfred Ceramic Art Museum, Alfred, NY Kindred Beast: The 2016 Everson Biennial, Everson Museum, Syracuse, NY Non-Objective, Harbourfront Centre, Toronto, Canada Welcome: New Faculty Exhibition, Fosdick-Nelson Gallery, Alfred University, Alfred, NY 2015 Collision, Two-person exhibition with Heidi Bjørgan, Entrée Gallery, Bergen, Norway Re-Reanimate, Repair, Meld & Mend, Bluecoat Art Gallery, Liverpool, UK Glazed and Diffused, Ferrin Contemporary, North Adams, MA Continuum of Innovation: Haystack Clay Selects, Fuller Craft Museum, Brockton, MA

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2004 2003

In Residence, Watershed exhibition, New Bedford Art Museum, New Bedford, MA Saribu Raja, Boru Parame, SaRang Building, Yogyakarta, Indonesia Jakarta Ceramics Biennial, National Gallery of Indonesia, Jakarta, Indonesia Caméléon, McClure Gallery, Centre des Arts Visuels, Montreal, Canada Ceramic Top 40: New & Selected Works, curated by Leslie Ferrin, Harvard Gallery 224, Boston, MA, traveled from Red Star Studios, Kansas City, MO Royal Bank of Canada People’s Choice Group Exhibition, Gardiner Museum, Toronto Girls Just Want to Have Funds, La Mama Galleria (Rema Hort Mann Foundation panel, exhibition), NYC, NY Crafting a Continuum, Arizona State University Museum, Tucson, AZ My voice changes when I speak your language, Jane Hartsook Gallery, New York, NY 60th Anniversary Resident Artists’ Exhibition, Archie Bray Foundation, Helena, MT Are you land or water? in Thing Tang Trash: Up-cycling in Contemporary Ceramics, West Norway Museum of Decorative Art, Bergen, Norway Mine (i hear you unclip me) in Overthrown, Denver Art Museum, Denver, CO Howling Room in Lerets Magi: Ceramics in Contemporary Art, Gl Holtegaard, Denmark Pretty Young Things, Lacoste Gallery, Concord, MA Drawn in A.I.R., International Artists in Residence Exhibition, Vallauris, Vallauris, France Playing the Field, The Clay Studio, Philadelphia, PA Rift in Possibilities and Losses: Transitions in Clay, Middlesborough Institute of Modern Art (MIMA), Middlesbrough, UK Full & Spare: Ceramics in the 21st Century, Museum of Fine Arts, Florida State University, Tallahassee, FL Salvage, Louisiana Artworks, New Orleans, LA Sounding Retreat, Washington State University, Pullman, WA Parting Favors in White Box Satellite Show, Arthaus Miami, Miami Beach, FL Roaming Tales in Mobile Structures, TechLab, Surrey Art Gallery, Surrey, Canada Roaming Tales in Mobile Structures, Mackenzie Art Gallery, Regina, Canada Ontario Craft Council Award Winners Exhibition, The Guildshop, Toronto, Canada Cheh-ae Siah, Stride Gallery, Calgary, Canada Contemporary Canadian Ceramics, Esplanade Art Gallery, Medicine Hat, Canada White Gold, Flow Gallery, London, England From the North: Canadian Ceramics Today, Clay Studio, Philadelphia, PA Taipei NCECA Exhibition, Taipei County Yingge Ceramics Museum, Taiwan The Conative Object, York Quay Gallery, Harbourfront Centre, Toronto, Canada NCECA Clay National, Baltimore, MD School’s Out!, NCECA Conference, Baltimore, MD 30,000 +, Charles H. Scott Gallery, Emily Carr Institute, Vancouver, Canada Languor, Lohin-Geduld Gallery, New York, NY Hot Clay, Surrey Art Gallery, Surrey, Canada Selections I, Lohin-Geduld Gallery, New York, NY Radius of the Will, MFA Graduate Exhibition, Fosdick-Nelson Gallery, Alfred, NY

AWARDS/GRANTS/RESIDENCIES: 2021 European Ceramic Work Center (EKWC), Oisterwijk, Netherlands (May-August) 2018 Canada Council for the Arts Travel Grant 2017 Alfred University School of Art and Design Professional Development Grant Bernstein Fund 2016 Canada Council for the Arts, Visual Arts Research/Creation Grant Alfred University School of Art and Design Professional Development Grant Bernstein Fund 2014–15 Canada Council for the Arts, Visual Arts Research/Creation Grant Canada Council for the Arts, Travel Grant (Yogyakarta, Indonesia) Sheridan College Faculty Professional Development Grant, Oakville, Canada 2014 Antena Projects and Sarang Building, Artist in Residence, Yogyakarta, Indonesia (June/July) Watershed Summer Session: Ayumi Horie with Tip Toland, Beth Cavener Stichter, Linda Sormin and Michealene Walsh, Watershed Centre for the Ceramic Arts, Maine (August) 2012 AIDAshed Residency, Givat Haviva, Israel Canada Council for the Arts, Visual Arts Research/Creation Grant Rhode Island School of Design, Professional Development Grant, Providence, RI Canada Council for the Arts,Visual Arts Research/Creation Grant 2011 DIVA Residency, Royal Danish Academy of Fine Arts and Gl Holtegaard, Denmark Edge Artist in Residence for Bray 60th Anniversary, Archie Bray Foundation, MT 2010 The Berlin Residency, Pankow, Berlin, Germany AIR (Artist in Residence) Vallauris, Vallauris, France 2009 Canada Council for the Arts, Travel Grant (Berlin, Germany) Rhode Island School of Design, Professional Development Grant, Providence, RI Rhode Island School of Design, Kyobo Grant (to team-teach with Art Historian Paola Demattè) 2006–09 Rhode Island School of Design, Faculty Conference Fund, Providence, RI 2006 Emily Carr Institute, Faculty Professional Development Grant, Vancouver, CA

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Medalta International Artist in Residence Program, Medicine Hat, Canada Canada Council for the Arts, Emerging Artist Grant Banff Centre for the Arts, MVA Intranation Residency, Banff, Canada Intranation Residency, Banff Centre for the Arts, Banff, Canada 2001–03 Alfred University, Graduate Fellowship, Alfred, NY 2002 Ontario Crafts Council, Ontario Crafts Council Scholarship, Toronto, Canada 2001 1st World Ceramic Biennale, International Competition Award of Merit, Korea Sheridan College Craft and Design Graduate Exhibition, Best in Show, Oakville, Canada William and Mary Corcoran Craft Award, Oakville, Canada Sheridan College, School of Crafts and Design Silver Medal, Oakville, Canada Ontario Crafts Council, Kingcrafts/Lady Flavelle Award, Toronto, Canada Ontario Crafts Council, Critical Writing Award, Toronto, Canada 2005 2004

Sheridan College,

PUBLIC COLLECTIONS: Arizona State University Museum, Tempe, AZ CLAY Museum of Ceramic Art Denmark, Middelfart, Denmark Everson Museum of Art, Syracuse, NY Gardiner Museum, (Gift of Raphael Yu) Toronto, Canada Victoria & Albert Museum, London Schein-Joseph Museum of Ceramic Art, Alfred, New York Dorothy and George Saxe Collection, Promised Gift to the DeYoung Museum World Ceramic Exposition, Gyeonggi Province, South Korea

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Complete List of Ceramic Annual

Curators and Artists CURATORS Ashwini Bhat 2022 (2021 postponed due to Covid-19 pandemic) Joanne Hayakawa 2020 Kirk Delman 2019 Patsy Cox 2018 Joan Takayama-Ogawa 2017 Susan Beiner 2016 Julia Haft-Candell 2015 Kirk Delman/Mary MacNaughton 2014 Virginia Scotchie 2013 Kirk Delman, Frank Lloyd and Mary MacNaughton CLAYS TECTONIC SHIFT 2012 Tim Berg 2011 Wayne Higby 2010 Adam Davis 2009 Phyllis Green 2008 Tony Hepburn 2007 Steven Portigal 2006 Tony Marsh 2005 Kirk Delman 2004 Karen Koblitz 2003 Nancy Selvin 2002 Adrian Saxe 2001 David Furman 2000 Kathleen Royster 1999 Cindy Kolodziejski 1998 Douglas Humble 1997 Kris Cox 1996 Nobuho Nagasawa 1993-1995 Paul Soldner 1959-1992 Richard Petterson 1947-1958 William Manker 1945-1946 ARTISTS 1.

J. T. Abernathy 1951 2.

Evelyn Ackerman 1953, 1954, 1955 3.

Jerome Ackerman 1953, 1954, 1955 4.

Ann Agee 1991, 2004 5.

Nancy Alexander 1954 6.

Margaret Allen 1984 7.

Ray Allen 1971 8.

Von Allen 1989 9.

Arthur Ames 1949, 1951, 1952, 1954, 1957, 1959 10.

Jean Goodwin Ames 1945, 1947, 1948, 1949, 1951, 1952, 1954, 1957 11.

Susan S. Amoy 1987 12.

Donna Anderegg 1996 13.

Wesley Anderegg 1996, 2020 14.

Bruce Anderson 1961

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Donald J. Siegfried 1951 Patrick Siler 1967, 1974 Anna Silver 1985, 2017 Bobby Silverman 1992 Susi Singer 1945, 1947, 1948, 1949, 1951, 1952, 1954 Amanda Small 2016 Anne Smith 1985 Caroline J. Smith 1951, 1952 Dennis Smith 1975 Tom Smith 1980 Cynthia Snyder 1981 Kit-Yin T. Snyder 1971 Vincent Soldacki 1981 Joe Soldate 1967, 1984, 1989, 2004 Paul Soldner 1957, 1961, 1965, 1967, 1969, 1974, 1984, 1989, 2010, 2014, 2019 Paolo Soleri 1961 Jessica Corn Solk 1973 Florine Sondergaard 1952 W Linda Sormin 2022 Robert Sperry 1957, 1959, 1969, Estate of Robert Sperry 2002 Victor Spinski 2000, 2004, 2019 Tom Spleth 1972 Spring Street Potters: Aldrich, Cooper, Charles, Shapiro 1966 Faraday Sredl 1992 Leonard R. Stach 1965 Rudolf H. Staffel 1964, 1969 Kenneth Starbird 1963 Thurman Statom 1980 Ken Steeves 1972 James E. Stephenson,Jr. 1965 John H. Stephenson 1963, 1969 Susan G. Stephenson 1963 Richenda Stevick 1979 Albert Stewart 1952 Bill Stewart 1967 Cliff Stewart 1966 Lizbeth Stewart 1983,1987 Marion (Hoppe) Stewart 1952 W Richard St. John 1971 Ann A. Stockton (see Voulkos) Jon F. Stokesbary 1964, 1984 Cecil G. Strawn 1964 Dino Strona 1957 Robert Stull 1966 Dorothy Sturm 1961 Vincent Suez 1974, 1984, 2004, 2019 Karen Sullivan 2004 Hyun-Sook Suh 1972 Mara Superior 2017 Thomas A. Suomalainen 1975 Sanford J. Sussman 1973 Kazuye Suyematsu 1967, 1974 Goro Suzuki 1974, 2006 Osame Suzuki 1960 William W. Swallow 1949

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Linda Rosenus Walsh 1982, 1984, 2004 Allan Walter 1984 Billie Walters 1981 Carl Walters 1947, 1949 John P. Walters 1963 Patti Bauer Warashina 1965, 1968,1969,1974, 2004, 2020 Phillip A. Ward 1961 Rosalind Ray Watkin 1952 W Helen Watson 1951, 1952, 1957, 1969, 1984 James M. Wayne 1968 G Christopher Weaver 1986 Matt Wedel 2011 David Weinrik 1969 Kurt Weiser 1982, 2004 Steven J. Welch 1996 Stan Welsh 1976, 1984, 2004, 2019, 2020 Robert Wendell 1966 Robert Westervelt 1957 Raymond Wetzel 1982 Irwin Whitaker 1957 Richie White 1982, 1984, 2004 Frans Wildenhain 1948, 1949, 1969 Marguerite Wildenhain 1945, 1947, 1948, 1949, 1951, 1952, 1954, 1959, 1969, 1974, 1979, 2019 Allen Wildenhofer 1966 Gerry Williams 1986 Liz Williams 1984 Jeff Wilson 1989 Mary A. Cale Wilson 2020 Katherine Winckler 1957 E Jack L. Winsor 1979 Paula Winokur 1963, 2004 Robert M. Winokur 1963, 2004 Edward Winter 1947, 1949, 1951 Thelma Frazier Winter 1949 Ted Wiprud 1978 Jean Withey 1961 Fred Wollschlager 1966 Harriet Wolpin 1963 Yoko Wong 1957 Marie Woo 1965 Grace Woolley 1952 W Ellamarie Wooley 1948, 1949, 1951, 1954 E Jackson Wooley 1948, 1949, 1951, 1954 E Beatrice Wood 1952, 1969, 1974, 2019 Donald Wood 1951 Betty Woodman 1964, 1967, 1974, 1984, 2004, 2010, 2015 Julie Woodward 1984 Elsbeth Woody 1991 Ellamarie Woolley 1951, 1952 Jackson Woolley 1951, 1952, 1960 James Wozniak 1962 Christie Wright 2007 Janis Mars Wunderlich 1999 William F. Wyman 1959, 1969 Kazuo Yagi 1960, 1974 Hikaru Yamada 1960

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Mutsuo Yanagihara 1974 Brian Yancey 1984, 1988, 2004 Yao Yongkang 2010 Susan York 2002 Ward Youry 1952, 1954, 1957, 1969 Sun-Koo Yuh 2005 Mark S. Zamantakis 1964 Carlo Zaulli 2019 Stephen Zawojski 1968 Guozhen Zhou 2010 Mike Zilka 1972 Arnold Zimmerman 1983, 2001 Georgette Zirbes 1975

*Clay’s Tectonic Shift: John Mason, Ken Price, Peter Voulkos 1956-68 E - Enamel F - Furniture G - Glass J- Jewelry W - Weaving

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contributors Ashwini Bhat, Curator Ashwini Bhat, an artist born in southern India, currently lives and works in the Bay Area, California. Coming from a background in literature and classical Indian dance, she now works at the intersection of sculpture, ceramics, installation, and performance. She often introduces radical but somehow familiar forms to suggest complex interplay between the landscape, the human, and the non-human.

Bhat is a recipient of the McKnight Foundation Residency Fellowship and the Howard Foundation Award for Sculpture.

She is represented by Shoshana Wayne Gallery, Los Angeles, California.

Leah Ollman, Writer Leah Ollman writes about the visual arts for the Los Angeles Times, Art in America and numerous other publications. Her books and exhibition catalogues include Alison Rossiter: Expired Paper, William Kentridge: Weighing...and Wanting, The Photographs of John Brill, Michal Chelbin: Strangely Familiar, and Camera as Weapon: Worker Photography Between the Wars. She is currently at work on a book exploring the intersection of poetry and photography.

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