Seven McKnight Artists

CLAUDIA ALVAREZ EDITH GARCIA ELIZA AU LYNNE HOBAICA TONY KUKICH JANINA MYRONOVA GINNY SIMS JULY 8 – AUGUST 20, 2O23 NORTHERN CLAY CENTER MINNEAPOLIS, MINNESOTA ESSAYS BY SUN YUNG SHIN

© 2023 Northern Clay Center.

All rights reserved.

No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations embodied in critical articles and reviews.

For information, write to: Northern Clay Center 2424 Franklin Avenue East Minneapolis, MN 55406 www.northernclaycenter.org Manufactured in the United States First edition, 2023 International Standard Book Number 978-1-932706-65-8 Unless otherwise noted, all dimensions in inches: height precedes width precedes depth.

SEVEN McKNIGHT ARTISTS

McKnight Artist Fellowships and Residencies for Ceramic Artists programs are designed to strengthen and enhance Minnesota’s artistic community, as well as significantly advance the work of Minnesota ceramic artists whose work is of exceptional artistic merit, who have already proven their abilities, and are at a career stage that is beyond emerging. The programs provide two forms of direct financial support to ceramic artists: two fellowships are awarded annually to outstanding mid-career Minnesota ceramic artists; four residency awards are granted each year to artists from outside Minnesota for a three-month stay at Northern Clay Center.

Three individuals comprised the selection panel in 2022. Derek Au—a studio potter who worked at Red Lodge Clay Center, The Clay Studio, and in Jingdezhen, China—attended New York State College of Ceramics at Alfred University as a Special Student, was a recipient of a McKnight Artist Residency for Ceramic Artists at NCC, and is the founder of Glazy, an online database of ceramic recipes. Kristen Cliffel—a sculptor who explores the complex layers of relationships between items by extracting them from familiar

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context—has served as lector and instructor, participated in over forty exhibitions, and is featured in institutional collections across the nation. Guillermo Guardia is a sculptor and potter originally from Peru. His works are influenced by art history, his upbringing in Peru, Catholicism, and his transition to living in the US. He is part of collections internationally, and was a recipient of a McKnight Artist Fellowship for Ceramic Artists, as well as several grants and residencies.

The 2023 exhibition catalog offering features work by two 2022 McKnight Artist Fellows, four 2021 McKnight Artist Residents, and one 2020 McKnight Artist Resident. The fellowship artists used the grants to defray studio and living expenses, experiment with new materials and techniques, and build upon ideas within their current and past work.

The McKnight Artist Fellowships and Residencies for Ceramic Artists program and this exhibition are made possible by generous financial support from the McKnight Foundation, Minneapolis, Minnesota.

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E D I T H G A RC I A 2020 McKNIGHT ARTIST RESIDENCY FOR CERAMIC ARTISTS RECIPIENT

Edith Garcia believes in and practices sculpture as drawing and drawing as sculpture. The poetry—the romance—of drawing is present in the substance, the body-ness, of sculpture. A decade ago she began asking the generative (and generous) question, “How much information do you need to read something as a figure?” This is a line of inquiry that continues to “influence [my] work as we speak,” she shares.

Through various experiments and projects, Garcia discovered that, “We don’t have to give too much information for something to be read as figuration; using the body as a tool to create objects is what I would consider figuration.” When two pieces are placed in parallel, even if one is significantly more abstracted, they can both be read as figures through juxtaposition, through their conversation with one another, and sometimes with certain small visual elements, such as a hand “hidden” on one side of the more deconstructed figure.

This epiphany-by-process has emotionally resonant implications for the realization(s) of the human. If sometimes very little is required for viewers to recognize ourselves as figures in these clay and ceramic “mirrors,” it means that our bodies, our humanity, may be far more legible than much of contemporary urbanized society demands. This is a form of bounty that can be seen throughout Garcia’s work.

Garcia’s passion for collaboration speaks to her investment in themes of identity and belonging, global social issues, and cultural politics. As a curator, art critic, and artist, she stays energized in her own studio practice by asking, “What can we do to help change the world around us? I’m very passionate and very honored to be in the roles that I am to elevate

others. I champion other artists who are working really hard to engage the global arts community.”

In concordance with a commitment to belonging, Garcia’s recent work with students as the Viola Frey Distinguished Visiting Professorship at California College of the Arts included teaching them that, “Working in clay simply doesn’t mean just sitting behind a wheel or making slabs. It means community engagement: It’s about going outside, making installations, making things people can interact with. We talked a lot about ephemerality, the importance of putting objects into the world in a playful but informative way.”

Other projects have investigated microaggressions, invisibility, and forgotten words. Transience and erasure have emerged as motifs in some of Garcia’s work, including work that was a response to a recent US President who “didn’t like women, per se, didn’t like immigrants, and didn’t like Mexicans,” and she is “all three of those.”

In her 2019 installation, Fabricating the Real, Garcia used a variety of mediums including sculptural ice, porcelain, wall drawings on satin, chiffon, and laser-cut acrylic figurative pieces. Her site-specific work brings the familiar into unfamiliar settings—which challenges both the received identity of materials and pushes the envelope of the gallery as a spatial partner—creating something emergent, elusive, and impermanent. Throughout her career, Garcia’s work has continued to offer gallery viewers and everyday community members opportunities to engage with the marvelous, challenging notions of permanence and sublimity.

Stolen Diamonds, 2022 Porcelain, black and white diamond dust, enamel paint 9.5 x 9 x 3

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C L AU D I A A LVA R E Z 2021 McKNIGHT ARTIST RESIDENCY FOR CERAMIC ARTISTS RECIPIENT

Claudia Alvarez is an artist who values touch, gesture, and the intuitive nature of clay. For her it is a revelatory process; when she’s using her hands, she is “pushing from the outside and inside all at the same time to get that initial response.”

She continues, “For me, the gesture is in relationship and in conversation with the material, with the clay. With the fingerprints…it’s more about the clay and the revealing of the building process.”

When sculpting figures, Alvarez is occupied with the vulnerability of our bodies, motion, and memory. “I understand the body because I worked in the hospital for twelve years.

The body has always been an important part of the work, how I understand and remember various motions and marks, and how I understand anatomy from just a memory—because I don’t look at a figure or photograph.” Her work may strike the viewer as a powerful dance between confrontation and mercy.

Alvarez has recently worked on sculptures of children in postures of repose, reclining, or lying down. She shares that childhood memories of moving from Chicago to California are part of the inspiration: “Our first summer there, we worked in the fields, and we slept in our cousin’s garage. There were nine siblings: eight of my brothers and sisters all lined up in the garage.” On the subject of children lying down, for her, there is a stark contrast between the children of the wealthy and the children of migrants at the border between the US and Mexico.

She wanted to explore the meaning of the resilience of these displaced children: “I was on Instagram and I started to look at the children of celebrities like Alec Baldwin. Those children were reclining and doing all these [leisurely] things. Then my research went to children at the border: all the kids during the Trump administration who were in a big room with the cages. You could see all these kids just living their lives on the floor with the silver blankets and the mattresses—and everybody could see them day and night. I wanted to think of them out of context, so I started to look at different types of sitting or reclining figures. My original idea was to talk about displacement and survival of displacement.”

Some of her child figures are caught in moments of violence, imitating the violence of the adults that surround them. In installations, they may be positioned so that the gallery visitor can move through them, sensing their physical presence and feeling one’s own body in space in relation to these representations of children. Their body language may be bold, or even strident, as they rehearse these adult interactions. The temporary theatre that these figures make for the viewer holds space open with the force of their determination to stand their ground.

There is a great humanity to Alvarez’s work, and all of it—from sculpture to painting to drawing—is suffused with curiosity and a profound respect for the endurance of being human. “The fine line between that tenderness [of the child] and the adult” offers each of us space to examine the nature of our conduct, our behavior, and our strengths.

I Am Here Now, 2022 Paper clay, brick 10 x 14 x 26 Photo by Claudia Alvarez

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E L I Z A AU 2021 McKNIGHT ARTIST RESIDENCY FOR CERAMIC ARTISTS RECIPIENT

Eliza Au’s graceful work gives viewers breathing room for experiencing the spiritual. Like breath, it often suggests a kind of inhale and then exhale. There’s an equality to the curves of a line, to movement, to traveling within and around and through the piece. In her work, what might be conventionally considered “ornamental” and “structural” become one. This merging gestures toward the liminal and even the sublime.

The focus on spatiality for Au relates to the spirit. Her sculptures may offer “an abstract kind of representation of a sacred space or the feeling of it. For example, churches have arches and ambulatory spaces such as hallways, so there’s repetition. I create that kind of experience on a smaller scale.” Abstraction and a geometric aesthetic gesture toward infinity and ideas of utopia. The literal earthiness of clay and the digital technology of design and repetition create a meditative effect, evoking notions of purity and divinity—a kind of refuge from chaos, everyday life, and the messiness of the mortal psyche.

Her sculptures occupy space through the elegant creation of pattern, repetition, and mirroring. The armatures that she creates by incorporating computer-aided design into her practice make negative space as captivating as the crafted matter of wireframe and clay. The viewer’s imagination has

a field of play in multiple dimensions. The relative fragility of the material heightens the experience of delicacy.

Regardless of the technology, making objects and materials can seem like spellwork. Magic has rules, limits, recipes, and designs. Clay is a medium of transformation. Au is engaged in the work of enchantment and recalls the saying, “If you know how it’s done, it’s science. And if you don’t know how it’s done, it’s magic.” She sees science and magic as “two sets of mystery,” and her design is informed by “mindfulness, a kind of meditation, and a kind of self-centering.” She says, “If I can pull the viewer into that kind of mindset, it is also like a type of enchantment.”

For all clay artists, working with the medium is technically challenging. Au mentions its fragility and strengths: “[Clay] dries relatively fast; the more dry it is, the more easy it is to break. When it’s wet, it’s stronger because of the pores of the clay. I think the challenge is part of the process. If I did sculptures out of a medium that is easier to work with, it would read really differently, such as plastic versus clay.

So I think for ceramic artists, [we experience] an element of wonder when someone does something technically difficult.

This is actually part of my interest in challenging myself; I feel that there always has to be something hard to do, which drives you forward.”

Lattice Cube, 2022 Stoneware 11 x 11 x 11

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LY N N E H O B A I C A 2021 McKNIGHT ARTIST RESIDENCY FOR CERAMIC ARTISTS RECIPIENT

Lynne Hobaica’s work is influenced by, she says, her love of medieval art, her delight in Grimms’ Fairy Tales, her Catholic upbringing, and the world of Catholic art. Her objects may have fantastical scenes of a person riding a narwhal, a firebreathing horse, or hybrid creatures with scales and fins and four legs. Their facial expressions tend toward the skeptical or the slightly concerned—but unapologetic—as if to say they, too, find this world we live in a bit strange, odd, and even uncanny.

It is easy to be charmed by Hobaica’s work for the touches of what feel like whimsy, for the moments of wonder, and for the persistent feeling of animation. Hers is a world in motion, of beings traveling through space or contemplating the otherworldly nature of everyday living. Flowers in pots may have frowning faces or four eyes. A quilted figure may be an everyday juggler, but the scene also suggests a magician with upturned arms glorying in their esoteric spell of levitation.

There’s a duality and a search for equilibrium in Hobaica’s practice. She shares, “I make my work with a lot of heavy thoughts. Oftentimes, it’s as if it’s all driven by this sense that we are all going to die eventually. I think I can lighten that sense by using imaginary or fairy-tale imagery along with semi-cute colors. I’m thinking a lot about our temporary

existence, but also I am trying to be playful and joyful about it. My sister passed away when I was eighteen and she was twenty. It’s always made me think about how important it is to just live every day with joy and with purpose—especially to embrace the people around you because you never know what could happen. I’m constantly trying to balance those two: the dark and the light.”

Hobaica reflects on her work with various mediums, including quilting, glass, and clay, and how she comes back to it.

“I feel so close to [clay]. It’s almost like a sibling in a way: You’re too close and sometimes you love it and sometimes you hate it. I think if I didn’t have it, I would miss it. I’m always really interested in playing with more materials and learning new materials all the time. So that keeps me interested in clay. One thing that I always say about clay is that it’s the language I speak best, probably even better than English.

I lean on that when I want to make a sculpture and there’s something that I feel I can say best with ceramics.”

The clay pieces Hobaica makes grant viewers permission to embrace exuberance in the face of mortality. Her art offers opportunities for curiosity and an awakening to the pleasures of being alive to see her inventions looking back at us, looking at something beyond us.

Our Holy Chi-nado, 2022 Porcelain, earthenware, mixed media 14.5 x 7.25 x 6

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JA N I N A M Y RO N OVA 2021 McKNIGHT ARTIST RESIDENCY FOR CERAMIC ARTISTS RECIPIENT

Janina Myronova’s art is bold and lively with smooth contours, high-contrast use of color, confident line drawings, and the occasional incorporation of fragments of graphic patterns. Titles such as Perfections in the Imperfections, Underwater World, and Freak Show show an interest in the beauty and strangeness of intimacy and our relationship with our environments.

Many of Myronova’s human figures, whether sculpted or painted onto the surface of ceramics, have open mouths, which arrest the viewer with their wide, prominently-lidded eyes. Their expressions are a bit mysterious, as if they’re keeping their emotions in reserve and aren’t to be had for sentimental purposes. Myronova says they have a “strong impression on their face because I think when their mouth is open, you can think that they’re singing, but they may also be screaming, and this is much stronger.”

Strong design and a very intentional color palette lend a unity across Myronova’s media and series. Myronova shares that “symmetry is important in my culture in Ukraine. We use it a lot in our patterns. Also, I definitely need to have something colorful [in my studio or home] to feel good and also in my sculptures. When I work on the decoration, I want to use those bright colors because I actually am thinking of joy. A combination of red and green, or orange and blue are in contrast to each other. I like that contrasting combination.

In Eastern Europe, we have very bright colors and similar combinations.”

Some of Myronova’s groups of human figures evoke families. Some figures look older and others, with their bigger eyes and smaller bodies, seem childlike although they’re abstracted and stylized. This leaves room for ample interpretation—even dreaming—of what the relationships between them may be. Some sculptures are two heads conjoined; a head with two faces; or a standing figure with three heads, three legs, and one torso. While the work invites us to look, the solidity of the bodies and their forthright postures disincline viewers from pity or voyeurism.

Myronova has been thinking about bodies and radical differences. She says, “I had serious work about people with disabilities. The people may have three legs and other different combinations of the body. But still, the content was also about joy. There are problems, but we can try to talk about these things. A lot of my work is about families also because my family’s very important.” Myronova has dedicated fourteen recent sculptures to Ukraine: “The worst situation is since last year, since February 24, and my family— I’m worried for them.”

Whether in design work or sculpture, Myronova’s people are unafraid to receive the gaze of the viewer. There’s a kind of joy, even defiance, in these depictions of life lived head-on and aloud. The outlined or red circles on their cheeks convey a robustness, a liveliness, and a strong readiness to laugh, scream, or sing.

OUTDOOR, 2022 Stoneware, underglaze, engobe 21 x 9 x 4.5

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TONY KUKICH 2022 McKNIGHT ARTIST FELLOWSHIP FOR CERAMIC ARTISTS RECIPIENT

Tony Kukich’s work offers the eye a visual feast, a dazzling array of textures, colors, and forms. This is on purpose, as he considers himself someone who makes things and will follow his interests and curiosity. “That’s a very conscious effort,” he says, “I never wanted to be recognized by a certain image or a certain technique. I learn everything that I can learn, whatever seems to make sense to me at the time. That’s what I use. I don’t feel limited.”

Kukich makes sculptures, pottery, paintings, and drawings.

Many of his pieces bear a strong sense of composition, with bold overlapping shapes and patterns ranging from delicate to dashing. With titles such as Jester’s Trinity to Cutting Bait to Tornado Cup, you wouldn’t be surprised by the sense of mobility in his artwork. Flowing contours, waves, slabs, columns, and irregular shapes in combination communicate a liveliness, an appreciation for assemblage, and surprise. If it were poetry, it might be described as muscular because of its striking rhythms. A grouping of his pieces across materials feels like a great party full of really interesting people.

When asked about his practice, he shares that he believes that a lot of art culture throws up unnecessary barriers of pretentiousness and preciousness. “I would rather artist presentations be clear and simple because art already has a mystique around it which it doesn’t deserve. We make cathedrals to our museums, and I think that disconnects art from people, and I don’t like it. For me it’s about observing our world and meeting people.”

Where does Kukich’s art come from? He asserts, “I want it to be as human as possible. I want people to understand that it’s coming from a really, really simple place. It’s not coming from some deep wellspring of emotion that I have, that other people don’t possess. I’m just making stuff that makes sense to me, and I want to explain it that way. So when I get the chance, that’s what I try to do—put people at ease. It’s a human activity. That’s awesome. That’s really all it is. It’s not pretentious. It can be intellectual, but that’s human too.”

Texture is a prominent part of Kukich’s work, and a viewer will visually experience the evidence of pressing, indenting, scoring, and even the industrial diamond pattern found on manufactured steel plate. There are clay mosaics, eddies of human wrinkles, and a frieze of de-kerned block letters.

Kukich is occupied by this aspect of the art form: “I spend a lot of time thinking about texture. And sometimes that directs the work, especially when I get a chance to have an extended period of time in the studio. What can I add to my arsenal as far as textures? That’s the beauty of ceramics. I want people, when they look at my work, to cock their heads and say, ‘How’s he doing that?’”

When asked about a particular affinity to clay compared to other mediums, Kukich muses enthusiastically, “I love it all.

I’m a painter too, and I draw, and I think most artists do, but there’s something about clay that is deeply seductive.

It’s hard to explain, but everybody who’s handled clay knows what I’m saying.”

MORNING HEAT, 2021 Earthenware, underglaze, glaze 25 x 15 x 10

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GINNY SIMS 2022 McKNIGHT ARTIST FELLOWSHIP FOR CERAMIC ARTISTS RECIPIENT

Ginny Sims has been attracted to, among many other things, the historical moment when the industrial era met with the longer time of folk traditions: “It symbolizes a lot of things: for one, a turning point towards craft being taken away from the hands of the people right at the moment of the Industrial Revolution in England. For me, I was so interested because of what England is as this colonial power. You can see these traces of propaganda, but with mistakes, and then the damage that it did to the population of the people in Staffordshire during the time of the Industrial Revolution, and how it continues up to this day.”

In our ongoing time of mass production and disposability, ceramic artists and other people in craft traditions have so much to offer the culture. Sims explains, “Industrial pottery isn’t really interesting to me. It’s all very refined, but it’s very boring. I’m interested in that window of time because it symbolizes power, but also loss, and also how vulnerable we are.” Her work holds the visibility of the human touch, of her own hands. Her painting technique on the surface of her objects suggests a light touch, a glancing moment, and a sensual tension between swiftness and permanence.

Story is part of our objects, both in their history—as aesthetics, form, and object—and what stories they can evoke. Sims says of her own work that she creates “functional

and sculptural objects that are highly narrative,” and that her pieces are touchable and therefore allow for a tangible, bodied experience. Sims values how studying the past lets us come into contact with “the fabric of everyday life with living people. With ceramics, you experience part of people’s routines because, for example, everyone [in certain places] has a teapot.” Sims’ work comes across as a kind of love letter to these social experiences.

Explaining this element of her artistic growth, Sims relates that she ended up studying pottery in England somewhat by happenstance. While she’s “not giving her life to this whole concept” around the transition to an industrial era, she “just noticed it.” She says, “It became very interesting because I have this background in political science. All of my family is from the British Isles. I just ended up working in England and living there, and it became kind of part of my life more than I ever planned on it being. So it just made sense to sort of dig into that a little bit deeper. I liked the idea of using some of the motifs in my own pots because they’re already sort of loose or hastily made. I’ve just been working with that for the last five years or so—that same sort of nodding to that time and that place, thinking about some of the same things, and adding my own to it. Now it’s sort of morphing into other things, so it was like a launch pad.”

Staffordshire-inspired Pitcher in Salmon, 2022 Stoneware, underglaze, oxides 10 x 8 x 6

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E D I T H G A RC I A SAN FRANCISCO, CA BORN: (LOS ANGELES, CA)

EDUCATION 2012 MPhil Research, Royal College of Art, London 2004 MFA, California College of the Arts, San Francisco 1998 BFA, Minneapolis College of Art and Design, MN 1998 International Exchange, Instituto d’Arte of Porta Romana, Florence 1997 International Exchange, Escuela Nacional de Artes Plasticas (UNAM), Xochimilco, Mexico SELECTED RECENT PROJECTS/PUBLICATIONS/ EXHIBITIONS 2021 Featured Curator, Treasured Objects: Edith Garcia, American Craft Magazine, December/January Issue, pg.7074 2020 Author, The Death and Rebirth of the Dinner Party: Cheyenne Chapman Rudolph, Ceramics Monthly, December Issue, pg. 42-46 • Artists Mask Series, The Electronic Music Magazine, July Issue, pg. 4-5, London • Curator, COVID Artists Edition Series, Josh Hughes Atelier, Global Collaborative Project, US & UK • Author, Collectives: The Model for Success, Ceramics Monthly, March Issue, pg. 46-51 2019 fabricating the real, NCECA Claytopia, Minneapolis College of Art and Design, MN • Author, The Counterculture Ceramics of Tom Bartel, Ceramics Monthly, February Issue, pg. 44-47 2018 The Clay

Studio National, The Clay Studio, Philadelphia, PA • Ceramic Art London, Central Saint Martins, Home from Home Film Screening, London • NCC Residential, Northern Clay Center, Minneapolis, MN • Author, Crowdfunding, Ceramics Monthly, February Issue, pg. 42-44 SELECTED AWARDS 2020 McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis, MN 2017 California College of the Arts, Travel Grant to London, San Francisco 2015 Viola Frey Distinguished Visiting Professor Award, California College of the Arts, San Francisco 2012 McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis, MN • Artist in Residence, Yorkshire Artspace, Manor Oaks Studios, Sheffield, UK 2009 MPhil Research Bursary, Royal College of Art, London PROFESSIONAL EXPERIENCE Current Managing Director of Marketing and Communications, National Council on Education for the Ceramic Arts, Boulder, CO 2017-2019 Professor, University of California, Berkeley 2015-2022 Professor, California College of the Arts, San Francisco

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C L AU D I A A LVA R E Z MEXICAN AMERICAN BORN: 1969 (MONTERREY, NUEVO LEON, MEXICO)

EDUCATION 2003 MFA, California College of the Arts, San Francisco 1999 BA, University of California, Davis SELECTED SOLO EXHIBITONS 2022 Claudia Alvarez Ceramics, Ralph Pucci International, New York 2019 Claudia Alvarez: A Moment in Between, ZAZ10TS, New York 2018 Boy in a Room, Edward Hopper House Museum and Study Center, Nyack, NY 2017 Huerta, Back in Five Minutes OH, El Museo del Barrio, New York 2014 Claudia Alvarez, Acercate, Centro Nacional de las Artes, Mexico City 2012 Girls with Guns, Scott White Contemporary Art, La Jolla, CA • History of Immigration, Metropolitan Community College, Omaha, NE 2011 Close Your Eyes, White Space Collection, West Palm Beach, FL • American Heroes, Blue Leaf Gallery, Dublin • Claudia Alvarez, Falling, Museum of Nebraska Art, Kearney SELECTED GROUP EXHIBITIONS 2020 Claytopian New York, Plaxall Gallery, Long Island City, NY 2019 California Clay: The Big Bang, The Assemblage, Lincoln, NE 2016 Allow Me: facing identity, Southwestern University, Georgetown, TX • You’re Making Me Uncomfortable: Perspectives on Controversial Art, Sheldon Museum of Art, Lincoln, NE • Mujeres, Museum of Nebraska Art, Kearney • NY, NY: CLAY, Clay Art Center, Port Chester 2015 New Ways of Seeing: Beyond Culture, Dorsky Gallery

Curatorial Programs, New York 2014 Migrantes: Claudia Alvarez, Jose Bedia, Ilya y Emilia Kabakov, Nina Menocal, Mexico City 2013 Its Surreal Thing: The Temptation of Objects, Sheldon Museum of Art, Lincoln, NE • The Figure, Keramik Museum, Westerwald, Höhr-Grenzhausen, Germany SELECTED AWARDS 2022 & 2014 McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis, MN 2017 Artist Residency, El Museo del Barrio, New York 2015 Artist In Residence in SASAMA, Shizuoka, Japan 2014 Art Matters Foundation, New York • Artista en Residencia, SOMA, Mexico City 2005 Artist in Residence, Bemis Center for Contemporary Arts, Omaha, NE SELECTED COLLECTIONS National Museum of Mexican Art, Chicago, IL • Sheldon Museum of Art, Lincoln, NE • Museo de Arte Contemporaneo Ateneo de Yucatan, Merida, Mexico • Museum of Nebraska Art, Kearney • El Museo Latino, Omaha, NE • ZAZ10TS, New York PROFESSIONAL EXPERIENCE 2017-Current Professor, New York University • Visiting Assistant Professor, Pratt Institute, Brooklyn 2020-Current Greenwich House Pottery, New York 2022 Visiting Lecturer, Maryland Institute of Art, Baltimore

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E L I Z A AU D E N TO N , T X BORN: JUNE 26, 1982 (NEW WESTMINSTER, BRITISH COLUMBIA, CANADA)

EDUCATION 2009 MFA, Ceramic Art, New York State College of Ceramics at Alfred University, Alfred Station 2005 BFA, Nova Scotia College of Art and Design, Halifax, Canada SELECTED SOLO EXHIBITIONS 2023 Archetype, New Taipei City Yingge Ceramics Museum, Taiwan 2022 The Architecture of Solace, Greenwich House Pottery, New York 2017 Abstract/Arabesque/Analog, Northern Arizona University Art Museum, Flagstaff • Triforium, Geoffrey A. Wolpert Gallery, Arrowmont School of Arts and Crafts, Gatlinburg, TN SELECTED GROUP EXHIBITIONS 2023 Parall(elles): A History of Women in Design, Montreal Museum of Fine Arts, QC, Canada • International Biennial of Contemporary Ceramic Art – Faenza Prize 2023, International Museum of Ceramics, Italy • Underneath Everything: Humility and Grandeur in Contemporary Ceramics, Des Moines Art Center, IA • Coalescence, Daum Museum of Contemporary Art, Sedalia, MO • I Contain Multitudes, 2023 NCECA Annual, Weston Art Gallery, Cincinnati Arts Association, OH • Deconstructing the Mold, Red Lodge Clay Center, MT 2022 CraftTexas, Houston Center for Contemporary Craft, TX • 2022 Craft Biennial, Fuller Craft Museum, Brockton, MA • Reminiscing the Now, The Gallery at UTA, University of Texas at Arlington • Constructed Landscapes: Brick, Tile and Pillar, Blue Line Arts, National Council on Education for the Ceramic Arts (NCECA), Sacramento, CA • 24th San Angelo National Ceramic Competition, San Angelo Museum of Fine Arts, TX • Artaxis Invitational, Longwell Museum, Neosho, Missouri 2021 XYZ 4th Virginia McClure Ceramic Biennale, Galerie McClure, Centre des arts visuels, Montreal, QC, Canada • La céramique en plein essor, La Guilde, Montreal, QC • Journeys,

Belger Arts Center, Kansas City, MO • Contemporary Clay: A Survey of Contemporary American Ceramics, The WCU Fine Art Museum, Cullowhee, NC 2020 Taiwan Ceramics Biennale, New Taipei City Yingge Ceramics Museum, Taiwan • 41st Annual Contemporary Crafts, Mesa Arts Center, AZ • The Clay Studio National 2020, The Clay Studio, Philadelphia, PA 2019 Korean International Ceramic Biennale, Korea Ceramic Foundation, Icheon-si, Gyeonggi-do SELECTED AWARDS 2022 ClayHouston’s Award for Texas BIPOC Ceramic Artists, Mid-Career and Beyond 2021 McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis, MN • Arts Abroad Grant Residency Canada Council for the Arts 2020 Award of Excellence, JRACraft Chrysalis Award, James Renwick Alliance for Craft, Smithsonian American Art Museum 2016 Windgate Summer Scholarship, Archie Bray Foundation for the Ceramic Arts, Helena, MT GALLERY REPRESENTATION La Guilde, Montreal, QC, Canada • The Canadian Clay and Glass Gallery, Waterloo, Ontario • Everson Museum of Art, Syracuse, NY • Montreal Museum of Fine Arts, QC, Canada • Victoria and Albert Museum, London PROFESSIONAL EXPERIENCE 2019-Current Assistant Professor in Ceramics, University of North Texas, Denton 2023 Artist in Residence, Benyamini Contemporary Ceramics Center, Tel Aviv, Israel • Artist in Residence, Tandem, Künstlerhaus Stadttöpferei Neumünster, Germany 2022 Workshop, Structure and Form: Ornamental Lattices, Arrowmont School of Arts and Crafts, Gatlinburg, TN 2018 Guldagergaard International Ceramic Research Center, Skaelskor, Denmark

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LY N N E H O B A I C A BAKERSVILLE, NC BORN: APRIL 14, 1985 (PHOENIX, AZ)

EDUCATION 2015 MFA, University of Art and Design Linz, Austria 2010 BFA, Syracuse University, NY SELECTED SOLO AND TWO-PERSON EXHIBITIONS 2023 New Work by Lynne Hobaica and Rickie Barnett, Blue Spiral 1, Asheville, NC 2022 Traversing Myth, with Robin Whiteman, Saratoga Clay Arts Center, NY • Lynne Hobaica: Featured Artist, Signature Gallery, Atlanta, GA • Two Headed Diver, with Rickie Barnett, ClayAKAR, Iowa City 2021 Two Headed Diver, with Rickie Barnett, Focus Gallery, Penland School of Craft, NC 2018 I will help you live forever, Solo, Pottery Northwest, Seattle, WA SELECTED GROUP EXHIBITIONS 2023 Ambidextrous, Blue Spiral 1, Asheville, NC 2022 Worcester Pottery Invitational, MA • Yunomi Invitational, ClayAKAR, Iowa City 2021 Spruce Pine Potters Market, NC • Yunomi Invitational, ClayAKAR, Iowa City • Small Favors, The Clay Studio, Philadelphia, PA • Functional Canvas, Charlie Cummings, Gainesville, FL • Clever Birds, Abel Contemporary Gallery, Stoughton, WI 2020 Narrative Offerings, San Antonio Museum of Fine Arts, TX • Form to Table, Blue Spiral 1, Asheville, NC • 17th Annual Ceramics Invitational, Abel Contemporary, Stoughton, WI • 16 Hands, Floyd, VA • Yunomi Invitational, ClayAKAR, Iowa City • Spruce Pine Potters Market, NC • Materials: Hard + Soft, Greater Denton

Arts Council, TX • Cup Invitational, Good Earth Pottery, Bellingham, WA • NCECA Gallery Expo, Gandee Gallery, Richmond, VA • Functional Canvas, Charlie Cummings Gallery, Gainesville, FL 2019 Diverse Direction in Clay, Columbia City Gallery, Seattle, WA • The Almighty Cup, Gandee Gallery, Fabius, NY SELECTED AWARDS 2022 McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis, MN 2020 Emerging Artist, Ceramics Monthly 2019 Blue Ridge Soap Shed Scholarship, Penland, NC • 2nd Place in 3-D Artwork, Creative Visions Gallery, Bremerton, WA 2018 De Poi Award, Seattle Perugia Sister City Association, Perugia, Italy GALLERY REPRESENTATION Abel Contemporary, Stoughton, WI • Brumfield Gallery, Astoria, OR • Firehouse Gallery, Rochester, NY • Gallery IMA, Seattle, WA • Gandee Gallery, Fabius, NY • Penland Gallery, NC PROFESSIONAL EXPERIENCE 2023 Touchstone Center for Crafts, PA • Alison Palmer Studio, Farmington, CT 2022 Saratoga Clay Arts Center, NY • Arrowmont Mountain School of Craft, TN • Eye of the Dog Art Center, San Marcos, TX • Northern Clay Center, Minneapolis, MN 2021 Penland School of Craft, NC

SEVEN McKNIGHT ARTISTS

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JA N I N A M Y RO N OVA HELENA, MT BORN: AUGUST 9, 1987 (DONIECK, UKRAINE)

EDUCATION 2019 Ph.D., The Eugeniusz Geppert Academy of Art and Design in Wrocław, Poland 2013 MFA, The Eugeniusz Geppert Academy of Art and Design in Wrocław, Poland 2012 MFA, Lviv National Academy of Arts, Ukraine 2010 BA, Lviv National Academy of Arts, Ukraine SELECTED SOLO EXHIBITIONS 2022 Family Postcards, Riga Porcelain Museum, Latvia 2020 Voila!, Gallery Lefebvre et Fils, Paris 2019 Scratched, SIC! Gallery BWA, Wrocław Gallery of Contemporary Art, Poland • Janina Myronova. Ceramics, Gallery 6exi Contemporary Ceramics, Thessaloniki, Greece SELECTED GROUP EXHIBITIONS 2023 Archie Bray Resident Artists at NCECA, Queen City Clay, Norwood, OH • Art on Fire, art by Ukrainian artists, Hatzfeld Palace, Wrocław, Poland 2022 Above borders, Polish Pavilion at NordArt, Büdelsdorf, Germany • 15 International Biennale of Ceramics Transformations, Forest, Warsaw, Poland • Porcelain City, International Bone China Symposium, Kaunas Central Post Office, Lithuania • Belonging: The 2022 National Council on Education for the Ceramic Arts (NCECA) Annual, Crocker Art Museum, Sacramento, CA • Summertime’22, Galleri Christoffer Egelund, Copenhagen • Here, Gallery Labor im Chor, Schwäbisch Gmünd, Germany • XMAS’22 THE BIG ANNUAL WINTER SHOW 18TH EDITION, Galleri Christoffer Egelund, Copenhagen 2021 The Spirit of Ceramics: 2021 Jingdezhen International Ceramic Art Biennale, China • Majolika Karlsruhe Award for Contemporary Ceramic Art, Majolika Manufaktur, Karlsruhe, Germany 2020 Acquisitions 2019/2020, Four Domes Pavilion, The National Museum in Wrocław, Poland • Lost & Found, Yelo House, Bangkok 2019 XIV Biennale of Artistic Ceramic Art of Aveiro,

Museum of Aveiro, Portugal • Cluj International Ceramics Biennale, Cluj-Napoca Art Museum, Romania • Ceramics in Love - Two, 59th Edition of the Castellamonte Ceramics Exhibition Competition, Piazza Vittorio Veneto, Italy 2018 Potluck Party, Clayarch Gimhae Museum, Korea • 7th Bienal Internacional de Cerámica de Marratxí (BICMA), Spain SELECTED AWARDS 2023 Speyer Fellow Long-Term Residency, Archie Bray Foundation for the Ceramic Arts, Helena, MT 2022 McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis, MN 2020 Młoda Polska Scholarship of the Minister of Culture and National Heritage of the Republic of Poland 2019 Silver Award, 1st “Yatai•Lotus Mountain Prize” International Ceramics Contest, Changchun, China • Emerging Artist, Ceramics Monthly GALLERY REPRESENTATION Lefebvre et Fils, Paris • Galleri Christoffer Egelund, Copenhagen SELECTED COLLECTIONS Crocker Art Museum, Sacramento, CA • New Taipei City Yingge Ceramics Museum, Taiwan • Riga Porcelain Museum, Latvia • National Museum in Wrocław, Poland PROFESSIONAL EXPERIENCE 2022 Artist in Residence, International Ceramic Research Center, Guldagergaard, Denmark 2021 Artist in Residence, Künstlerhaus Neumünster, Germany 2019-2020 Assistant Professor, The Eugeniusz Geppert Academy of Art and Design in Wrocław, Poland 2018 Artist in Residence, Clayarch Gimhae Museum, Korea • Artist in Residence, New Taipei City Yingge Ceramics Museum, Taiwan

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TONY KUKICH S T. P A U L , M N BORN 1961 (DULUTH, MN)

EDUCATION 1988 MFA, Indiana University, Bloomington 1984 BFA, Bemidji State University, MN SELECTED SOLO EXHIBITIONS 2019 Tube Change, Tony Kukich New Work, Rossmor Art, St. Paul, MN 2004 Tony Kukich, New Work, BKD Gallery, Minneapolis, MN 1991 Tony Kukich, Kiehle Gallery, St. Cloud State University, MN SELECTED GROUP EXHIBITIONS 2022 Pinky Promise, Gamut Gallery, Minneapolis, MN • Clay Center Sculpture National, Clay Center of New Orleans, LA 2020 • Southern Miss Ceramic National, University of Southern Mississippi, Hattiesburg • UnWedged, Pottery Northwest, Seattle, WA • Go Figure!, Springfield Art Association, IL 2019 LUSH: A Contemporary Ceramics Exhibition, Lighthouse ArtCenter, Tequesta, FL • Minnesota State Fair, Juried Fine Arts Exhibition, St. Paul • Mug Madness, Saltstone Ceramics, Seattle, WA • Clay Bodies, Clay Center of New Orleans, LA • Cup Show 2019, Clay Arts Vegas, NV 2018 Small Matters, Colorado Mesa University, Grand Junction • Sculpted and Small, Clay Center of New Orleans, LA • The Clay Cup IV: Vessel, Icon, Canvas, George Caleb Bingham Gallery, Columbia, MO • Plates, Platters, and Nothing Else Matters, LBIF, Loveladies, NJ 2012 Ceramica Multiplex, Verazdin, Croatia and Kapfenberg, Austria 2010 Foot in the Door 4, Minneapolis Institute of Art, MN 1991 BLACK AND BLUE, Touché Gallery, Bemidji, MN 1990 Tony Kukich & Janet Ballweg, New Harmony Gallery of Contemporary Art, IN • 28th Ceramic National Exhibition, Everson Museum of Art, Syracuse, NY 1989 Indianapolis Art League National, IN • Midstates Craft Exhibition, Evansville Art Center, IL • 54th Tri Kappa Regional Artists Exhibition, Fort Wayne Museum of Art, IN 1988 Young Americans, American Craft Museum, New York • SIUE Clay National, Southern Illinois University Edwardsville 1987 Chicago Vicinity Clay VI, Lillstreet Art

Center, Chicago, IL 1986 Clayfest, University of Indianapolis, IN • Award Winners From Lillstreet, Evanston Art Center, Chicago, IL • Chicago Vicinity Clay V, Lillstreet Art Center, Chicago, IL 1985 Lenexa 3-D National, KA SELECTED AWARDS 2022 Honorable Mention, Minnesota State Fair Fine Arts Competition, St. Paul • McKnight Artist Fellowship for Ceramic Artists, Northern Clay Center, Minneapolis, MN 2019 Honorable Mention, Minnesota State Fair Fine Arts Competition, St. Paul 1991 Grand Prize, Watermark Art Festival, Bemidji, MN 1989 First Place, Lenore K. Whitmore Award, Indianapolis Art League Regional, IN • Clyde Burt Memorial Ceramic Award, 54th Tri Kappa Regional Artists Exhibition, Fort Wayne, IN 1988 Purchase Award, SIUE Clay National, Edwardsville, IL • Mary Howes Woodsmall Award, Best of Show, Clay Fest, Indianapolis, IN • National Society of Arts and Letters Career Award, Bloomington, IN 1987 Juror’s Choice, Clay Fest, Indianapolis, IN 1986 Purchase Award, Chicago Vicinity Clay V, Lillstreet Art Center, IL 1985 Friends of Art Fellowship, Indiana University, Bloomington 1984 North American Intercollegiate Association National Springboard Diving Champion, Arkadelphia, AK PROFESSIONAL EXPERIENCE 2006 Ceramics Instructor, Normandale Community College, Bloomington, MN 1987-1998 Associate Instructor in Ceramics, Indiana University, Bloomington 1997 Instructor, Drawing Fundamentals, Inver Hills Community College, Inver Grove Heights, MN 1994 Instructor, 3-D Design, Inver Hills Community College, Inver Grove Heights, MN 1990 Assistant Professor of Ceramics, 3-D Design, and Drawing, Bemidji State University, MN 1989 Lecturer in Ceramics, Herron School of Art, Indianapolis, IN 1987 Ceramics Instructor, Interlochen Center for the Arts, MI 1987 Associate Instructor of 3-D Fundamentals, Indiana University, Bloomington

SEVEN McKNIGHT ARTISTS

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GINNY SIMS MINNEAPOLIS, MN BORN: AUGUST 1, 1977 (LITTLE ROCK, AR)

EDUCATION 2012 MFA, University of Minnesota Twin Cities, Minneapolis 2005-2006 Post-Baccalaureate Studies in Ceramics, University of Arkansas at Little Rock 2004 Trinity Certificate TESOL, Trinity College London/ The Windsor Institute of Languages, Barcelona 2001 BA, University of Arkansas at Little Rock SELECTED SOLO EXHIBITIONS 2022 Recent works, OfR, Paris • Recent Works, Tiwa Select, Los Angeles • Brief Histories, Nemeth Art Center, Park Rapids, MN 2019 CHORUS, Forage Modern Workshop, Minneapolis, MN 2018 No Creature Loves an Empty Space, Lacuna Gallery, Minneapolis, MN 2017 Six Towns, The White Page, Minneapolis, MN • On the Table, The Shop Floor Project, Ulverston, UK 2014 New Work, Bottle Rocket Gallery, Fayetteville, AR 2011 Peter, I Will Miss You, University of Wisconsin-Stevens Point, Wausau 2009 Prince William Sound, Carbondale Clay Center, CO SELECTED GROUP EXHIBITIONS 2022 Pattern of Hand, Mast Books, New York 2021 Right Now, Hair and Nails, Minneapolis, MN • In the Pleasure Garden, The Shop Floor Project, Ulverston, UK 2020 Future Future, Hair and Nails, Minneapolis, MN 2019 Little Red Quartet, The White Page, Minneapolis, MN • Object Lessons, University of Minnesota Twin Cities, Minneapolis 2017 The Painted Parlour, The Shop Floor Project, Ulverston, UK • Small Objects, Lacuna Gallery, Minneapolis, MN • Group Show: Collecting Art, Hair and Nails, Minneapolis, MN 2016 Bedfellows Club, Kate Shannon’s Apartment, Oakland, CA •

On View at ACC, American Craft Council, Minneapolis, MN 2015 Stool Sample, Midnight Brigade, Minneapolis, MN • Katherine Rutter & Ginny Sims, Historic Arkansas Museum, Little Rock • Art of the Cup, Ogden Museum of Southern Art, New Orleans, LA SELECTED AWARDS 2022 McKnight Artist Fellowship for Ceramic Artists, Northern Clay Center, Minneapolis, MN • Creative Support for Individuals, Minnesota State Arts Board 2020 Jerome Ceramic Artists Project Grant, Northern Clay Center, Minneapolis, MN 2017 Artist Initiative Grant, Minnesota State Arts Board 2015 Jerome Foundation Study and Travel Grant, Jerome Foundation, MN • Powderhorn Kitchen: 38th and Chicago Business Association Pop-Up Art Storefronts 2014 Northern Spark: Dosha Kitchen, Minneapolis, MN • Community Supported Art (CSA), Springboard for the Arts and MNartists.org 2013 Jerome Ceramic Artists Project Grant, Northern Clay Center, Minneapolis, MN GALLERY REPRESENTATION Hair and Nails, Minneapolis, MN • The Shop Floor Project, Ulverston, UK • Tiwa Select, Los Angeles • OfR, Paris PROFESSIONAL EXPERIENCE 2016-2022 Lecturer, Introduction to Art, Beginning Ceramics, Art History (Pre-Historic to Contemporary), Minneapolis Community and Technical College, MN 2019 Women’s Studio Workshop Parent Residency, Rosendale, NY 2014 Grand Marais Art Colony, MN

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N O R T H E R N C L AY C E N T E R

ABOUT THE McKNIGHT FOUNDATION The McKnight Foundation, a Minnesota-based family foundation, advances a more just, creative, and abundant future where people and planet thrive. Established in 1953, the McKnight Foundation is deeply committed to advancing climate solutions in the Midwest; building an equitable and inclusive Minnesota; and supporting the arts in Minnesota, neuroscience, and international crop research.

Program Goal: As creators, innovators, and leaders, Minnesota’s working artists are the primary drivers of our heralded arts and culture community. Artists nurture our cultural identities, imagine solutions, and catalyze social change.

Founded on the belief that Minnesota thrives when its artists thrive, the McKnight Foundation’s arts program is one of the oldest and largest of its kind in the country.

Support for individual working Minnesota artists has been a cornerstone of the program since it began in 1982. The McKnight Artist Fellowships Program provides annual, unrestricted cash awards to outstanding midcareer Minnesota artists in 14 different creative disciplines.

Program partner organizations administer the fellowships and structure them to respond to the unique challenges of different disciplines. Currently the foundation contributes about $2.8 million per year to its statewide fellowships.

For more information, visit mcknight.org/artistfellowships.

McKnight Artist Fellowships and Residencies for Ceramic Artists program and this exhibition are made possible by generous financial support from McKnight Foundations, Minneapolis, Minnesota.

PAST RECIPIENTS 1997 F Linda Christianson F Matthew Metz R Marina Kuchinski R George Pearlman 1998 F Judith Meyers Altobell F Jeffrey Oestreich R Andrea Leila Denecke R Eiko Kishi R Deborah Sigel 1999 F Gary Erickson F Will Swanson R Joe Batt R Kelly Connole 2000 F Sarah Heimann F Joseph Kress R Arina Ailincai R Mika Negishi R Mary Selvig R Megan Sweeney 2001 F Margaret Bohls F Robert Briscoe R Vineet Kacker R Davie Reneau R Patrick Taddy R Janet Williams

2002 F Maren Kloppmann F Keisuke Mizuno R William Brouillard R Kirk Mangus R Tom Towater R Sandra Westley 2003 F Chuck Aydlett F Mary Roettger R Miriam Bloom R David S. East R Ting-Ju Shao R Kurt Brian Webb 2004 F Andrea Leila Denecke F Matthew Metz R Eileen Cohen R Satoru Hoshino R Paul McMullan R Anita Powell 2005 F Maren Kloppmann F Tetsuya Yamada R Edith Garcia R Audrius Janušonis R Yonghee Joo R Hide Sadohara 2006 F Robert Briscoe F Mika Negishi Laidlaw R Lisa Marie Barber R Junko Nomura R Nick Renshaw R John Utgaard

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SEVEN McKNIGHT ARTISTS

2007 F Mike Norman F Joseph Kress R Greg Crowe R John Lambert R Lee Love R Alyssa Wood

2012 F Brian Boldon F Ursula Hargens R Pattie Chalmers R Haejung Lee R Ann-Charlotte Ohlsson R Nick Renshaw

2017 F Xilam Balam Ybarra F Mic Stowell R Derek Au R Linda Cordell R Bryan Czibesz R Ian Meares

2008 F Andrea Leila Denecke F Marko Fields R Ilena Finocchi R Margaret O’Rorke R Yoko Sekino-Bové R Elizabeth Smith

2013 F Keisuke Mizuno F Kimberlee Joy Roth R Claudia Alvarez R Tom Bartel R Sanam Emami R Sarah Heimann

2018 F Brett Freund F Donovan Palmquist R Ted Adler R Alessandro Gallo R Hidemi Tokutake R Leandra Urrutia

2009 F Ursula Hargens F Maren Kloppmann R Jonas Arčikauskas R Cary Esser R Alexandra Hibbitt R Ryan Mitchell

2014 F Kelly Connole F Kip O’Krongly R Jessica Brandl R Jae Won Lee R Amy Santoferraro R Andy Shaw

2019 F Kelly Connole F Guillermo Guardia R Pattie Chalmers R Rebecca Chappell R Hyang Jin Cho R Marcelino Puig-Pastrana

2010 F Linda Christianson F Heather Nameth Bren R William Cravis R Rina Hongo R Naoto Nakada R Kevin Snipes

2015 F Ursula Hargens F Mika Negishi Laidlaw R Kathryn Finnerty R Lung-Chieh Lin R Helen Otterson R Joseph Pintz

2020 F Andrea Leila Denecke F Brad Menninga R Ashwini Bhat R Edith Garcia R Tom Hubbard R Roberta Massuch

2011 F Gerard Justin Ferrari F Mika Negishi Laidlaw R David Allyn R Edith Garcia R Peter Masters R Janet Williams

2016 F Nicolas Darcourt F Sheryl McRoberts R Eva Kwong R Forrest Lesch-Middelton R Anthony Stellaccio R Kosmas Ballis

2021 F Mike Helke F Juliane Shibata R Claudia Alvarez R Eliza Au R Lynn Hobaica R Janina Myronova

F = Fellowship Recipient

•

R = Residency Recipient

2022 F Tony Kukich F Ginny Sims R Ron Geibel R Amanda Gentry R Hide Sadohara R Valerie Zimany

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N O R T H E R N C L AY C E N T E R

ABOUT NORTHERN CLAY CENTER Northern Clay Center’s mission is to advance the ceramic arts for artists, learners, and the community, through education, exhibitions, and artist services. Its goals are to create and promote high-quality, relevant, and participatory ceramic arts educational experiences; cultivate and challenge ceramic arts audiences through extraordinary exhibitions and programming; support ceramic artists in the expansion of their artistic and professional skills; embrace makers from diverse cultures, experiences, and traditions in order to create a more inclusive clay community; and excel as a non-profit arts organization.

Exhibition Supporting Staff for Seven McKnight Artists Maria Hennen, Galleries Coordinator Sean Lofton, Artist Services Tippy Maurant, Deputy Director/ Director of Galleries & Exhibitions Kyle Rudy-Kohlhepp, Executive Director Board of Directors Paul Vahle, Chair Bryan Anderson Mary K. Baumann Heather Nameth Bren Evelyn Weil Browne Nettie Colón Sydney Crowder Haweya Farah Patrick Kennedy Mark Lellman Kate Maury Brad Meier

Philip Mische Debbie Schumer Cristin McKnight Sethi Honorary Director Kay Erickson Legacy Directors Andy Boss Warren MacKenzie Joan Mondale

Photographs of ceramic works by Peter Lee unless otherwise noted.

Design and portraits by Joseph D.R. OLeary (vetodesign.com) Editor: Jesse Roth

2424 Franklin Avenue East Minneapolis, Minnesota 55406 612.339.8007 www.northernclaycenter.org