Six McKnight Artists
JUNE 7 - AUGUST 17, 2025
NORTHERN CLAY CENTER
Minneapolis, Minnesota
Six McKnight Artists
2024 McKnight Artist Fellowship for Ceramic Artists
Maggie Jaszczak
Ani Kasten
2023 McKnight Artist Residency for Ceramic Artists
Larry Buller
Karima Duchamp
Joon Hee Kim
Ellen Kleckner
Essays by Rachael Marne Jones
JUNE 7 - AUGUST 17, 2025
Six McKnight Artists
Founded on the belief that Minnesota thrives when its artists and culture bearers thrive, the McKnight Foundation’s Arts & Culture program is one of the oldest and largest of its kind in the country. Support for individual working Minnesota artists and culture bearers has been a cornerstone of the program since it began in 1982. The McKnight Artist & Culture Bearer Fellowships Program provides annual, unrestricted cash awards to outstanding mid-career Minnesota artists in 15 different creative disciplines. Northern Clay Center is honored to partner with the McKnight Foundation to administer the McKnight Fellowships for Ceramic Artists.
Four individuals comprised the selection panel in 2024: Natalia Arbelaez, Garth Johnson, Hitomi Shibata, and Takuro Shibata.
Natalia Arebelaez (Seattle, WA) is a Colombian-American artist born and raised in Miami, Florida to immigrant parents. She received her BFA from Florida International University (Miami) and her MFA with an Enrichment Fellowship from The Ohio State University (Columbus). Her work has been exhibited internationally, in museums, galleries, and included in various collections, such as the Everson Museum of Art (Syracuse, NY), Museum of Arts and Design (MAD) (New York), Fuller Craft Museum (Brockton, MA), ICA Miami (Florida), and the Gardiner Museum (Toronto). In 2016–2017, Arbelaez was a Rittenberg Fellow at Clay Art Center (Port Chester, NY) and was awarded the Inaugural Artaxis Fellowship that funded a residency at Watershed Center for the Ceramic Arts (Newcastle, ME). In 2018, she was recognized by National Council on Education for the Ceramic Arts (NCECA) as an Emerging Artist and was a 2018-19 resident artist in the Ceramics Program at Harvard University, where she researched pre-Columbian art and histories. In 2019-2020, Arbelaez was an artist-in-residence at MAD (New York), where she researched the work of historical and influential women ceramicists of color and continued this research as a 2021 and 2023 Visiting Artist at The American Museum of Ceramic Art (AMOCA) (Pomona, CA). She joined the School of Art + Art History + Design at the University of Washington (Seattle) as Assistant Professor in Ceramics in the fall of 2024 after completing a residency at the MenLo Studio in Jingdezhen, China, where she spent the summer researching the city’s rich ceramic history and industry.
Garth Johnson (Syracuse, NY) is a writer, curator, and educator. Johnson is the Paul Phillips and Sharon Sullivan Curator of Ceramics at the Everson Museum of Art (Syracuse, NY). Before arriving at the Everson, Johnson served as the Curator of Ceramics at the Arizona State University Ceramics Research Center & Archive. Johnson has also exhibited his work and published his writing nationally and internationally, including contributions to the recent books Funk published by Natsoulas Press and Funk You Too: Humor and Irreverence in Ceramic Sculpture published by the Museum of Arts and Design. Johnson is a self-described craft activist who explores craft’s influence and relevance in the 21st century. His research interests range from 1960s and 70s artist-led movements in the field of ceramics to the intersection of clay, video, and performance. His exhibitions at the Everson include Renegades & Reformers: American Art Pottery, Earth Piece: Conceptual and Performative Works in Clay, and Key Figures: Representational Ceramics 1932-1972
Hitomi Shibata (Seagrove, NC) makes up half of the creative pair that comprises Studio Touya. Shibata is a Japanese ceramic artist, and earned Ceramic art degrees (B.Ed & M.Ed in Fine Art and Craft) from Okayama University (Japan). She learned and worked as a potter in Shigaraki, which is one of the oldest pottery villages in Japan. Rotary International scholarship brought her to the US, and she became a special student at the University of Massachusetts Dartmouth, CVPA Ceramics in 2002. Hitomi moved to North Carolina in 2005, and set up her permanent pottery studio in Seagrove. She makes functional wood-fired pottery and sculptural ceramic work from North Carolina wild clays and fires wood kilns with her husband, Takuro Shibata. She was an artist in residence at Shigaraki Ceramic Cultural Park (Japan) (1996-1997), Cub Creek Foundation for the Ceramic Arts (Appomattox, VA) (2003), and North Carolina Pottery Center (Seagrove, NC) (2005-2007). She led workshops at: Peters Valley School of Craft (Sandyston, NJ) (2017), The Art League (Alexandria, VA) (2019), and Penland School of Crafts (Bakersville, NC) (2019). She was selected as a member of the International Academy of Ceramics (IAC) (Geneva, Switzerland) in 2017. Her works have been featured in ceramic exhibitions and pottery shows in Japan, US, China, and the UK.
Takuro Shibata (Seagrove, NC) is a ceramist originally from Japan. He graduated with a Bachelor’s of Engineering in Applied Chemistry from Doshisha University (Kyoto, Japan). After graduation, he became an apprentice potter in Shigareki. Takuro and his wife, Hitomi, first visited the United States in 2001 and had the opportunity to join ceramic residency programs. He then accepted a position as director of STARworks Ceramics (Star, NC) (2005) and began a local clay-making project and artist-in-residence program. He often participates in exhibitions, events, and gives lectures and workshops. He has a widely-known reputation as a ceramic artist and clay specialist. His work in both regards has been featured in media, publications, and conferences globally.
The 2025 exhibition catalog offering features work by two 2024 McKnight Ceramic Artist Fellows and four 2023 McKnight Ceramic Artist Residents. 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 Fellowship for Ceramic Artists, and the exhibition, are made possible by generous financial support from the McKnight Foundation (Minneapolis).
Larry Buller
Larry Buller is a full-time ceramic artist, whose work fashions form, surface, and integrated iconography into celebratory compositions of the queer lived experience. Through the stratified layering of decals onto lusciously curved planes, Buller’s sculptures are enigmatic in their magnetic qualities from afar. One may expect to see a bucolic scene akin to the 18th century Rococo painting, The Swing by Jean-Honoré Fragonard. Instead, one is sharply confronted with Buller’s contrasting definition of a grand-old time— his forms create a platform for the most opulent display of queer kink and fetish that, in turn, have the potential to expand his viewers’ lexicon of pleasure in both visual and tactile sensibilities.
Buller came out in the 1970’s, a fiery incubator defined by the Civil Rights Movement which continues to fuel the concepts and motivations within his practice. He cites Grayson Perry’s quote “I make subversion to match the curtains” as an inspiration in how his (and Perry’s) work keenly recognize the familiarity of ceramic material, utilizes that comfort to ground the viewer, and then exposes their own relation with societal expectations by dismissing the parameters that are dictated by them. This is done through eruditely placing graphics and iconography together that sing parables of the queer vernacular.
For those that can relate to this lived-experience, his work stands as a celebration of sexual opulence and diversity. For those that are experientially unfamiliar, they are left to wrestle with the labyrinthine connections between organized religion (particularly the Catholic church) and sexuality (chastity), wealth and power under the guise of capitalism, and how
marginalized communities are actively reclaiming their own sense of belonging outside of, and woven within, the matrix of “mainstream” culture. By adopting the language of high society (through Rococo forms) and transforming it (with mass produced, “kitsch” aesthetics and objects), Buller is capitalizing on the fluidity of visual language to carve out a safe space for sexual expression, expansion, and interpersonal dialogue.
Using found objects, Buller imbues personal narratives within the work, while also recognizing the potential for others to relate to and explore their own. His work speaks not only to contemporary times, but engages in a deep, cross-cultural history of bonding ceramic vessels to the act of archiving sexual pleasure and expression for future generations. His work is “meant to be brought out of the bedroom and displayed on the mantel.”
Most recently, Buller’s practice has begun to investigate how symbolization holds the power to transcend objecthood. Direct parallels of this phenomenon are present in both religious kink and sexual queer fetish accessories, as well as religious reliquaries, altars, and effigies. Signifying affiliation, devotion, ritual, status, and belonging, these various forms share reflexive roles in world making, hierarchical categorization, and complex pleasure—revealing all the ways and what it means to be human. During his McKnight Residency, Buller carefully observed the impact that Northern Clay Center has on the people of Minneapolis through their outreach programming and expresses immense gratitude to have become a part of their community.
2023 McKnight Artist Residency for Ceramic Artists
Larry Buller, Obey Your Sir 2024, Low-fire earthenware, decals, gold luster, 15 x 15 x 15. Decal photo credit @___kozmos
Karima Duchamp
Karima Duchamp often refers to the materials she uses in her practice as “close to the skin.” She is able to bend, spread, blend, and layer oil pastels, engobes, clay bodies, and glazes to masterfully evoke gestural collages and color combinations on both two-dimensional, and three-dimensional planes. Through her compositions, no sensory organ is left out—the eye is delighted by the vibrations between color combinations, and the hand is beckoned to feel the surfaces of her large vessel forms to confirm or deny the illusionistic quality of the depth within the layered engobe surfaces. The quilt-like quality of the ceramic sculptures evoke a familiarity of belonging, a formal act of reverence for the Berber Traditions (The Imazighen are a diverse ethnic group native to North Africa.) and the objects that surrounded her in her childhood. She was born in France to Algerian parents, and her grandmother was a potter and a weaver. Her interests lie in “seeing how traditional practices can be adapted to contemporary craft without bending to Western influences.”
She has always had a drawing, painting, and ceramics practice, but for a long time, only considered herself a ceramicist. The pandemic catalyzed a deeper exploration of building surfaces on flat planes using oil pastels and graphite due to the inaccessibility of the ceramics medium at the time. After returning to clay, she combined her two-dimensional and threedimensional practices on a daily basis. By problem solving many planar compositions at once, she says she felt a wholeness that gave her the opportunity to ebb and flow between the different paces of each medium. “I like the difficulty of working on several mediums—it is a challenge to get to search beyond a comfort zone. I like the search.” What she discovers through each practice guides the methodologies of the others, hence the often eclectic and unexpected handling of material.
Duchamp’s complex approach to drawing out subtle threads between color, form, texture, and implied depth is inherently influenced by frescos, ornamentation, architecture, and her grandmother’s weaving practice. She will often begin with a cultural narrative or folklore, then sculpt an ideated response to that story (such as the Golden Rock, a reference to the Burmese golden rock of Kyaiktiyo, Myanmar). The stability of the triangle allows her to build slowly and explore complex forms that are responsive to the hand-building process. Duchamp works in porcelain, because of its haptic similarities to paper. Porcelain’s translucency and responsivity easily translate her aesthetic tendencies into a more archival iteration of visual and sensual exploration. She says, “I hope the viewer will experience new sensations through the colors and the surfaces, wanting to convey the touch and a form of beauty.”
During her McKnight Residency, her drawing and ceramics practices united in a cataclysmic way. She began cutting out triangles of clay and printing them onto canvases to further develop her twodimensional compositions. Duchamp titled this series All the Traces and hopes to continue this new process in her studio back in France.
2023 McKnight Artist Residency for Ceramic Artists
Karima Duchamp, Golden Rock Dragon Scale 2 2024, Fiber porcelain, engobes, 22.5 x 14.25 x 6.5
Maggie Jaszczak
Maggie Jaszczak comes from a familial environment where appreciation for the handmade was a quiet but constant presence. Prints on the walls of her grandparent’s home, a grand cabinet filled with Italian ceramics, and the warmth of the architecture coalesced with wavering light streaming in from the windows to seed a deep curiosity and appreciation for the complexities of humanity, creative expression, and the natural world.
Jaszczak came to ceramics after obtaining a degree in Comparative Religion and Philosophy, and the influence of these foundational ways of knowing are still guiding her aesthetic choices. This education awoke a curiosity about herself, the world and her place in it, which has fostered a broader perspective on the creative process. Jaszczak’s forms and surfaces are as much about what is not there than what is—an outcome of meticulous aesthetic refinement and reflexivity. “It took time to recognize how difficult it was for me to make a single piece that could stand on its own, and how much more vulnerable that made me—to make one piece well.”
Careful observation of time was honed during periodic visits to her family’s cottage on Georgian Bay on Lake Huron. Noticing changes within weathered rocks, shorelines, driftwood, and human-made structures curated her ability to decode these objects’ life through texture. As the surfaces deteriorated within the landscape, she cultivated a deeper understanding of material transformation and reciprocity as a relational catalyst. “I have never been interested in objects that are attempting to transcend the human experience (through a perceived perfection), I am more interested in artworks that place us firmly in that experience—reminding us of how to be human.”
Experiences from daily life are her primary resources for making. With little knowledge of her ancestry, Jaszczak focuses on the universality of an emotional response to her work. Through form and surface, she explores the broader elements of a visceral reaction that can transcend cultures. This quality can easily be felt through exposure to historical ceramics—eliciting an empathetic response and possibly a curiosity of the life of the form’s maker and/or culture. The connection between utility and survival that dictates the aesthetics of objects within the American Shaker tradition, along with the work of Austrian-born potter Lucie Rie, also inspire her practice. Jaszczak’s aesthetic choices are the most accurate recording of her spiritual understanding of “the lived experience of being a body in this world.” She describes her choice of earthenware as a reverence towards the material’s ever-changing existence, “The porosity keeps the material alive for me, and [the way it continues to change over time] gives [me] a sense that it is continuing to breathe.”
The McKnight Fellowship has allowed Jaszczak to release some limitations that come with making work that is co-dependent with her and her family’s livelihood, allowing a renewed ability to take more risks and invest more time in the lived experiences that invigorate her practice.
2024 McKnight Artist Fellowship for Ceramic Artists
Maggie Jaszczak, White Candle Holder, 2024, Earthenware, 16.75 x 18.25 x 2.75
Ani Kasten
Ani Kasten is a full-time studio artist, whose practice is intimately tied to the daily rituals of her homestead in Shafer, Minnesota. This synchronicity between her life and practice has come full circle, as initially Ani began her relationship with clay back in 2000 on a sheep farm in Bishop’s Castle, England under the guidance of Rupert Spira. Through this apprenticeship, she honed her vessel-making and throwing skills which has served as a solid foundation for both of her functional and sculptural works.
After her apprenticeship, she moved to the village of Thimi outside of Katmandu, Nepal to work with local artisan families and learn their ways of making. This working relationship lasted for 5 years and imprinted a deep appreciation for community, preservation of livelihood, and the importance of collaboration—a precursor to becoming a host for the St. Croix Valley Pottery Tour when she moved to Minnesota in 2016. She observed how the ebb and flow of the harvest season worked in tandem with their ceramic practice—the agricultural by-product was used to fire the pottery after harvest season. One way of relation could not exist without the other, and a sense of community was pivotal to coalescence of art and life.
“Making do with what you have, where you are” is a mantra that guides Kasten’s aesthetic and formal decisions by leading with curiosity and looking for potential in the often overlooked or discarded. Her functional, sculptural, and installation work sets up variables through form, surface, and material interaction that celebrate a result that could only
be found through an innate trust in materials to exhibit their most inherent nature. By pairing forms and surfaces that evoke an unexpected harmony, imperfections reveal connections through contrast that may not have been previously realized. The geologic processes of clay—erosion, sedimentation, fissures, metamorphosis—all become metaphors for human interaction.
“Recently, I have been playing with very contrasting materials—porcelain and dark stoneware bodies. In my life and relationships, I seek out a challenge and enjoy unlikely connections on a personal level. I am always exploring those ideas in my heart, and clay has become a language to explore what I’m doing in my life and in my studio. We are all striving for a sense of balance and harmony, and I want to communicate forms and surfaces that celebrate that sense of harmony, even if it seems challenging. Working with clay has opened my eyes to the beauty of accepting imperfection—teaching me how to live as a human in the world. Communicating through the ceramic language is how I evolve and grow as a person and hope to bring others into that experience through my forms.”
The sense of ease granted by the support of her McKnight Fellowship has allowed Kasten a mental and creative freedom that she has not experienced before. She says that being able to invest in tools and materials that she could not previously access has “fortified” her practice and is excited to see where these explorations go moving forward.
2024 McKnight Artist Fellowship for Ceramic Artists
Ani Kasten, Desert Vessel 2024, Black stoneware, porcelain, slips, 14 x 24 x 13
The artwork of Joon Hee Kim offers a multidimensional gateway to visual delight. Color, forms, and cultural narratives are carefully orchestrated to appease the senses through a cadence of revealing encounters. Like one might experience the first bite of a decadent pastry, viewers are drawn in by the ornate figures, lavishly adorned in frictional color combinations, each revealing more enticement as the viewer is gravitationally pulled around the piece. Visually devouring the cacophony of interrelated dialogue, one’s eyes jump from one section to the next, as if unable to stop themselves from eavesdropping on the sculpture’s incredible ability to envelope attention and simultaneously offer an invitation to join the figures in their inner world. She transcends the often static nature of clay through a familial sense of joviality and cross-cultural connection—each individual is a pivotal component to the overlying narrative.
The precision of setting up aesthetic variables with careful consideration to the whole comes from Kim’s divergent life experiences and interests. Before her illustrious career in ceramics, she was a professional pastry chef and the skills honed in this profession remains ever-present in her visual language and relationship to clay. Originally from South Korea, she was a graphic designer before moving to Canada. This transition sparked the desire to change careers and her dedication to pâtisserie unfolded. She saw the intrinsic parallels between pâtisserie and ceramics at Sheridan College (Ontario), and a new path emerged. Utilizing the sculpted figure, Kim infuses all of the idiosyncrasies of each culture and place she has come to know through gesture, facial expressions, and inter-related body language.
“The term human serves as a powerful metaphor, allowing me to delve into the depths of our existence and unique identities. Through ceramics, I capture the true forms of human nature. Language, lineage, memory, and love are the important parts of humanity that reflect our identity while offering new perspectives. These pieces serve as living testaments to life’s flow, acting as guardians and fostering innovative approaches to cultural coexistence. My goal is to comprehend and connect diverse cultural identities, embracing and celebrating their beauty. Uncovering our inner wonders embodies the ultimate joy of being human.”
Kim builds each piece like she builds her life—the first component constructed is the precursor to subsequent forms on and around the base—similar to how she finds herself in a new place and carefully tends to the relationships surrounding her. Using press-molded, handbuilt, and thrown forms, she assembles the works in the leather hard (semi-dry) state. Color is applied through many stages, layering underglazes and decals for contrasting pattern. Glazes are then added to build a deliciously complex surface that simultaneously unite the individual forms, and highlight points of emphasis.
In regards to her McKnight Residency, Kim expressed a deep gratitude towards the uninhibited studio time granted, and the deep conversations she had with those at Northern Clay Center. “The exchange of ideas and the sharing of diverse approaches have expanded my understanding of clay as a medium.”
Joon Hee Kim
2023 McKnight Artist Fellowship for Ceramic Artists
Joon Hee Kim, Love Wins 2024, Ceramics, glaze, gold luster, mother-of-pearl luster, 25 x 16 x 15
Ellen Kleckner
As the Executive Director of the Iowa Ceramics Center and Glass Studio, Ellen Kleckner’s artistic practice has always been woven into the fabric of her daily life. It has been built on a foundation of what she deems “The four pillars: community development, collaborative work, the daily flow of making work and material investigation.” Kleckner’s aesthetic decisions are grounded in the visual weight and cultural legacies of her chosen materials. The proverbial toolbox of techniques she has expertly honed are used as both metaphor for interpersonal relationships, and a living testament to her historical reverence for clay, metal, fibers, and wood.
Invigoration and innovation renew her world view and methodologies through many outlets of collaboration with other artists, most notably her decades old investigation with Linda Tien titled: The Im-ple-ment Archive. This ongoing collection of contemporary tools utilize clay, wood, metal, fibers, and found-materials to challenge the formal aesthetics that are often assigned to utilitarian objects, while redefining our understanding of “use” through a contemporary lens.
“I naturally lean towards collaboration, but working with [these materials] reminds me of the value of stillness—deep engagement with a single form, a single gesture. They demand presence. My relationship to material acts as a mirror, revealing where I am rigid or flexible, where I resist, and where I yield.”
Her visual lexicon is one of sensual tactility and a nuanced exploration of the haptic qualities of formal union. Each individual material is given permission to express its inherent qualities and unique abilities. When these materials are paired
together, their convergence emanates whispers of cultural heritage—singing softly of our species’ deep knowledge of materiality for survival for those patient enough to quiet the cacophony of 21st century visual inundation. Tension is celebrated.
“Working with clay, wood, and metal were never meant to be solitary pursuits…they existed within a network of makers who relied on them for survival. My work acknowledges that history while also reinterpreting it for a contemporary context.
Fostering collaboration is an act of historical reciprocity. It honors the materials by recognizing their communal origins. At the same time, my work highlights how contemporary society has shifted away from those deep material connections, often prioritizing disposability over longevity and isolation over interdependence.”
There are echoes of the familiar in Kleckner’s ceramic, metal, and wooden components, while the sculpted compositions feel unfettered by the restraints of any specific function. This newfound formal freedom breathes new life into the materials and creates a platform fertile with possibilities of metaphoric wayfinding. “These pieces question the nature of support, tension, and how relationships— both material and human—hold together across time and space.”
The McKnight residency provided not only time, space, and financial support for her to make a new body of work exploring architectural beams in clay, but also emboldened her to invest in these new concepts with the institutional trust and belief in her vison. “More than anything, this residency reinforced my commitment to craft as a means for connection.”
2023 McKnight Artist Fellowship for Ceramic Artists
Ellen Kleckner, Echoes Without End, 2024, Ceramics, reed, stainless steel, 15 x 9 x 2.25
Larry Buller Karima Duchamp
EDUCATION
SELECTED AWARDS
2016 MFA, Ceramics, University of Nebraska-Lincoln 2007 MA, Educational Psychology, University of NebraskaLincoln
SELECTED EXHIBITIONS
2025 Made in the Plains, Joslyn Art Museum, Omaha, NE • 2024 Rendered Fusion, Joel and Lila Harnett Museum of Art, University of Richmond, VA • The New Solan, Asheville Art Museum, NC • 2023 Making in Between: Queer Clay/ LGBTQ+ Identities in Clay, The American Museum of Ceramic Art (AMOCA), Pomona, CA • I Contain Multiples, Weston Art Gallery, Cincinnati, OH • 2022-2024 Art Week Miami/SCOPE International Contemporary Art Show, FL 2022-2024 Art Week Miami/SCOPE International Contemporary Art Show, FL 2022 Opulence: Performative Wealth and the Failed American Dream, Bemis Center for Contemporary Arts, Omaha, NE • Wish You Were Here, Mortal Machine Art Gallery, New Orleans • 2021 Fetish, Garden of the Zodiac Sculpture Garden and Gallery, Omaha, NE • 2020 The Burdens of History, Glave Kocen Gallery, Richmond, VA • 2019 Pried, The Society of Arts and Crafts, Worcester, MA
2024 Emerging Artist, Ceramics Monthly • 2023 McKnight Artist Residency for Ceramic Arts, Northern Clay Center, Minneapolis
PROFESSIONAL EXPERIENCE
2025 Guest Artist, The University of Oklahoma, Norman • 2024 Guest Artist, Gustavus Adolphus College, St. Peter, MN • Guest Artist, University of Akron, OH • 2022-Present Board Member, Lincoln Clay Tour, NE • 2017-2023 Adjunct Lecturer, Foundations Art Program, University of NebraskaLincoln
ARTIST RESIDENCIES
2023-2024 The Center for Ceramics, Berlin • 2022 Red Lodge Clay Center, MT • 2019-2024 Anderson Ranch Arts Center, Snowmass Village, CO
EDUCATION
2014 MFA, École des Beaux-Arts, Besançon, France
2000 One year study in Ceramics, Maison de la Céramique, Mulhouse, France
SELECTED SOLO EXHIBITIONS
2025 of clay, of colors, of light, Le Lézard Art Center, Colmar, France • 2017 what we see / what we don’t see, Séries Rares Gallery, Geneva , Switzerland • 2016 traumbilder Ceramic Museum, Staufen, Germany • 2015 the visible / the invisible, State Museum for Art and Cultural History, Oldenburg, Germany • 2013 nue, AccroTerre Gallery, Paris • 2012 carte blanche Contemporary Ceramic Centre of La Borne, France
SELECTED GROUP EXHIBITIONS
2025 Territoires Sensibles, Curated by Inès Frachon, Six Elzévir Gallery, Paris • Le Cercle de l’Art, Art sales season 4
• Exhibition of Painting Artists, France- Japan The National Art Centre, Tokyo • Residency at the Taoxichuan Ceramic Art Center, Jingdezhen, China • 2024 Salon d’Automne, Champs-Elysées, Paris • Mediterranean Ceramics and their Global Influence, IAC exhibition, Museu do Vinho de Alcobaça, Portugal • Liberté conditionnelle, Curated by Frédéric Bodet, Ariana Museum, Geneva • International Competition of Contemporary Ceramics, Castellamonte, Italy • International Ceramics Biennial of Manises, Spain • Ceramic Competition of the CICA Alcora Spain • Salon des Beaux-Arts, Orangerie du Sénat, Paris • A travers les voiles superposés, Curated by Marion Duquerroy, Cohle Gallery, Paris • Le Cercle de l’Art Art sales season 3 • Affordable Art Fair, London • Salon d’Automne, Paris • 2023 color as a pure energy, Taoxichuan Ceramic Art Center, Jingdezhen, China • International Competition of Ceramic Art and Exhibition, Grottaglie Ceramic Museum, Italy • Salon des Beaux-Arts, Paris • CERCO 2023, International Competition in Ceramics and Exhibition, Zaragoza, Spain • 2022 The SALON
ART+DESIGN, Moderne Gallery, New York • Affordable Art Fair, Hamburg, Germany • Important Studio Ceramics: 19322022, Moderne Gallery, Philadelphia • Espace Artistique de l’Anjou, St Barthélémy d’Anjou, France • Enseigne des Oudins Gallery, Paris • Fernet Branca Foundation, SaintLouis, France • FrontofBicycle Gallery, Basel, Switzerland • Triptyque Gallery, Les Sables d’Olonne, France
SELECTED AWARDS
2025 Faenza Prize, MIC Faenza, Italy • 2024 McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis • 2023 First Prize, 30th International Competition of Contemporary Ceramic Art, Ceramic Museum of Grottaglie, Italy • 2022 Ceramic Sculpture Prize Siegburger Keramikpreis and Museum acquisition, Siegburg Ceramic Museum, Germany • 2014 First Prize, International Keramiktage Contest, Oldenburg, Germany
GALLERY REPRESENTATION
Moderne Gallery, Philadelphia • Triptyque Galerie, Les Sables d’Olonne, France
SELECTED COLLECTIONS
Grottaglie Ceramic Museum, Italy • Siegburg Museum, Germany • Yingge Ceramic Museum, New Taipei City, Taïwan • Ariana Museum, Geneva
PROFESSIONAL EXPERIENCE
2024 McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis • 2023 “Sign and Color” workshop, Truro Center for the Arts at Castle Hill, MA • 2019 Ceramic Artist Exchange, Keramikkünstlerhaus Neumünster, Germany
• 2018 Artist In Residence Programme, Studio Kura, Fukuoka, Japan • 2013 Artistic residency, Shigaraki Ceramic Culture Park, Japan
Born: April 28, 1958, Lincoln, Nebraska
Born: November 14, 1971, Audincourt, Doubs, France
Maggie Jaszczak
Born: December 20, 1974, Meaford, Canada
EDUCATION
2013 MFA, University of Minnesota, Minneapolis
SELECTED AWARDS
2016 BFA, Alberta College of Art + Design, Calgary, Canada
2006 Three-Year Diploma in Craft, Art and Design, Specializing in Ceramics, Kootenay School of Art, Nelson, Canada
SELECTED SOLO EXHIBITIONS
2020 Objects: Maggie Jaszczak Abel Contemporary Gallery, Stoughton, WI • 2019 Maggie Jaszczak Joan Derryberry Art Gallery, Cookeville, TN • Maggie Jaszczak The Signature Shop, Atlanta, GA
SELECTED GROUP EXHIBITIONS
2025 The Nature of Things, Abel Contemporary Gallery, Stoughton, WI • Vase/Vase, Blue Spiral 1, Asheville, NC • 2024 31st Annual St. Croix Valley Pottery Tour, Shafer, MN • Dallas Pottery Invitational, The Empire Room, TX • Clay 24, Blue Spiral 1, Asheville, NC • 2023 Artifact, Abel Contemporary, Stoughton, WI • 30th Annual St. Croix Valley Pottery Tour, Shafer, MN • 2022 48th Annual Old Church Pottery Show & Sale, Demarest, NJ • Beyond Our Years Signature Contemporary Craft, Atlanta, GA • Ladies of the Loon, Trax Gallery, Berkeley, CA • American Pottery Festival, Northern Clay Center, Minneapolis • Staked Out: Contemporary Basketry, Blue Spiral 1, Asheville, NC • 2021 47th Annual Old Church Pottery Show & Sale, Demarest, NJ • Maggie Jaszczak and Tom Jasaczak, Jaszczak x 2, Schaller Gallery, Baroda, MI • Explorations, Max L. Jackson Gallery, Queens University of Charlotte, NC • Earth to Table, Trax Gallery, Berkeley, CA • 2020 46th Annual Old Church Pottery Show & Sale, Demarest, NJ • Tools of the Trade Blue Spiral 1, Asheville, NC • 2018 Pnuema: Maggie Jaszczak and Chris Colville John & Robyn Horn Gallery, Penland, NC • American Pottery Festival, Northern Clay Center, Minneapolis • Mint Museum Potter’s Market Invitational, Charlotte, NC
2024 McKnight Artist Fellowship for Ceramic Artists, Northern Clay Center, Minneapolis • 2022, 2019 Essential Artist Award, East Central Regional Arts Council, MN • 2021
Creative Support for Individuals Award, Minnesota State Arts Board • 2021, 2014 Windgate Scholarship, Archie Bray Foundation for Ceramic Arts, Helena, MT • 2012 Joel and Aja Ceramics Fellowship, University of Minnesota, Minneapolis
GALLERY REPRESENTATION
Blue Spiral 1, Asheville, NC • Penland Gallery, NC • Northern Clay Center, Minneapolis • Abel Contemporary Gallery, Stoughton, WI
SELECTED COLLECTIONS
Yinnge Ceramics Museum, New Taipei City, Taiwan • Archie Bray Foundation for the Ceramic Arts Permanent Collection, Helena, MT • The Rosenfield Collection, Everson Museum of Art, Syracuse, NY
PROFESSIONAL EXPERIENCE
2023 Workshop Instructor, Object-Making Through Material and Process, Shakerag Workshops of St. Andrew’s-Sewanee School, TN • Workshop Instructor, Alternative Ways Towards New Forms, Sugar Maples Center for Creative Arts, Maplecrest, NY • 2015-2018 Resident Artist, Penland School of Craft, NC • 2016 Resident Artist, Yingge Ceramics Museum, New Taipei City, Taiwan • 2012-2014 Resident Artist (Summer), The Archie Bray Foundation for the Ceramic Arts, Helena, MT
Ani Kasten
Born: November 18, 1976, Nantucket, Massachusetts
EDUCATION
2000 BA, University of Michigan, Ann Arbor
SELECTED AWARDS
2001 Apprenticeship with Rupert Spira, Shropshire, United Kingdom
SELECTED SOLO EXHIBITIONS
2024 Adrift, Lucy Lacoste Gallery, Concord, MA
2022 Mending Work, Momentum Gallery Asheville, NC
2021 Solo Exhibition, Momentum Gallery, Asheville, NC
2020 Solo Exhibition, In Tandem Gallery, Bakersville, NC
2017 Ani Kasten, Santa Fe Clay, NM
SELECTED GROUP EXHIBITIONS
2024 Untitled, 10 Women Artists, Dobrinka Salzman Gallery, New York • 2022 Ladies of the Loon, Trax Gallery, Berkeley, CA • Special Collection of Ceramic Pieces for Seth Rogen, Houseplant, www.houseplant.com • Functional Pottery, Curated by Peter Held, The Art Spirit Gallery Coeur d’Alene, ID • 2021 Ceramics Invitational Abel Contemporary, Stoughton, WI • 2020 Debris Poems, Lacoste Keane Gallery, Concord, MA • 2019 Three Masters in Ceramics, with Steve Heinemann and Sally Silberberg, 4 for Art, Lenox, MA • Craft Horizons, The M, Minnesota Museum of American Art, St. Paul • Divergence: An Exhibit of Ceramic Artists’ Work in 2D and 3D, National Council on Education for the Ceramic Arts, Minneapolis • The Pot Spot: Artists of the St. Croix Valley Pottery Tour, National Council on Education for the Ceramic Arts, Minneapolis • Stillwater: an Homage to Warren MacKenzie, The Clay Studio, Philadelphia • Introducing Ceramics, Marfa Works on Paper, TX • 2018 Spirit Ships, Lacoste/Keane Gallery, Concord, MA • From Wrecks and Ruins, The Phipps Center for the Arts, Hudson, WI • Bookends, The Carnegie Library (National Council on Education for the Ceramic Arts), Pittsburgh • From Clay to Table, VACI, Chautauqua, New York • Ceramics Invitational, Abel Contemporary Gallery, Paoli, WI • 2017 The Fine Art of Contemporary Craft, Watson MacRae Gallery, Sanibel, FL • Ceramics Invitational, Abel Contemporary, Paoli, WI • The Culture of Pots: The 25th Anniversary of the St. Croix Valley Pottery Tour, Weisman Art Museum, Minneapolis
2024 McKnight Artist Fellowship for Ceramic Artists, Northern Clay Center, Minneapolis • 2023 East Central Regional Arts Council, Essential Artist Award, Hinkley, MN • Minnesota State Arts Board, Individual Artist Support Grant • 2019 Craft+Design, Visual Arts Center of Richmond, Award of Excellence, VA • 2017 American Craft Council, Award of Excellence, Saint Paul • 2016 The Philadelphia Museum of Art Craft Show, Best in Show
GALLERY REPRESENTATION
Dobrinka Salzman Gallery, New York • Lucy Lacoste Gallery, Concord, MA • Momentum Gallery, Asheville, NC • Studio Tashtego, Cold Spring, New York
SELECTED COLLECTIONS
2022 Philadelphia Museum of Art • 2020 San Angelo Museum of Fine Arts, TX • 2019 The Minnesota Museum of American Art, Saint Paul • 2016 Weisman Art Museum, Minneapolis
PROFESSIONAL EXPERIENCE
2024 Guest Artist Workshop, University of Nebraska-Lincoln 2022 Workshop Presenter, The Potter’s Studio and Gallery, Berkeley, CA • 2021 Distinguished Artist Series Lecturer, James Renwick Alliance for Craft, Washington, D.C. • 2018 Guest Lecturer, American Craft Council, Library Salon Series, Minneapolis • 2017-Present Host Potter, St. Croix Valley Pottery Tour, Shafer, MN
EDUCATION
2015 MA Fine Art, Chelsea College of Arts - University of the Arts London • Advanced Diploma & Graduate with High Honors and Silver Medal in Ceramics program, Sheridan College, Oakville, Canada • 2010 Diploma in Pâtisserie, Le Cordon Bleu, Ottawa, Canada • 1997 Advanced Diploma & Graduate with Honors in Graphic Design, George Brown College, Toronto
SELECTED SOLO EXHIBITIONS
2024 You, Me, Us, KOURI + CORRAO Gallery, Santa Fe, NM • The Colours’ Colour, Harbourfront Centre, Toronto • The Shape of Life, Craft Ontario, Toronto • The Authentic Self, Carnegie Gallery, Dundas, Canada • 2019 The Eye of the Beholder, John A. Pollock Family Courtyard, The Clay & Glass Gallery, Waterloo, Canada • 2018 My Eyes Are On You, Dan Lawrie Family Courtyard, Art Gallery of Burlington, Canada
SELECTED GROUP EXHIBITIONS
2025 Interior Design Show: Prototype Metro Toronto Convention Centre • Feminine Lived Experience Esplanade Arts and Heritage Centre, Medicine Hat, Canada • 2024 Contemporary Venice - 14th Edition Palazzo Bollani, Venezia, Italy • Kaleidoscopic K-Lifestyle Exhibition, Korean Cultural Centre, Ottawa, Canada • 2023 Between Horizons, The Clay Studio, Philadelphia • 2023-25 Burlington Waterfront Sculpture Trail Exhibition, Canada • 2022 Bray Resident Artists Exhibition, Kolva-Sullivan Gallery, Spokane, WA • Upon Reflection: Portraits of Personal History Aurora Cultural Centre, Canada • International Ceramic Art Fair, Gardiner Museum, Toronto • 2021 Art Toronto University of the Arts London, Metro Toronto Convention Centre • 2020 Ceramic Art London Central Saint Martins • 2018-21 Toronto Outdoor Art Fair • 2020 Ceramic Artist Exchange—Tandem 2019,
Keramikkünstlerhaus Neumünster, Germany • 2019 What We Take, Juried Exhibition, University of Toronto, John B. Aird Gallery • 2016 The Graduate Art Prize Shortlist Exhibition Herbert Smith Freehills, London
SELECTED AWARDS
2023 McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis • 2023 Artist of the Year, ITSLIQUID Group, Venezia, Italy • 2022 Rochefort Scholarship, The Archie Bray Foundation, Helena, MT • 2020 Winifred Shantz Award for Ceramics, National Award, The Canadian Clay & Glass Gallery, Waterloo • 2015 Cecil Lewis Sculpture Scholarship, University of the Arts London
GALLERY REPRESENTATION
KOURI + CORRAO Gallery, Santa Fe, NM
SELECTED COLLECTIONS
2024 Tia Collection, Santa Fe, NM • 2023 The Dan Lawrie International Sculpture Collection, Royal Botanical Garden, Burlington, Canada • 2022 The Archie Bray Foundation, Helena, MT • 2019 Keramikkünstlerhaus Neumünster, Ceramic Artist Exchange Tandem Residency, Germany
PROFESSIONAL EXPERIENCE
2025 Shigaraki Ceramic Cultural Park Residency, Japan • 2022 Archie Bray Foundation Summer Residency, Helena, MT • 2022 Workshop & Artist Talk Presenter, Cross-Cultural Reflections – Fusion Annual Conference, FUSION: The Ontario Clay and Glass Association, Toronto • 2019 Zentrum für Keramik Residency, Berlin • 2018 Banff Clay Revival Residency, Banff Centre for Arts and Creativity, Canada
EDUCATION
MFA, Ceramics, Ohio University, Athens
Post-Baccalaureate, Ceramics, University of Nebraska-Lincoln
BFA, Ceramics, Tennessee Tech University, Appalachian Center for Craft, Smithville
SELECTED SOLO OR TWO-PERSON EXHIBITIONS
2025 Between Horizons, University of Illinois Springfield
• RePairing, Gilded Pear Gallery, Cedar Rapids, IA • 2022 Coupling Northwest Missouri State University, Maryville
• 2021 Standing Room Only, Box 13 Artspace, Houston, TX
• Juncture, Gilded Pear Gallery, Cedar Rapids, IA • Implement Archive Arrowmont School of Arts and Crafts, Gatlinburg, TN • Haptics of the Familiar Baltimore Jewelry Center, MD • 2017 In Union, Columbus Museum of Art and Design, ID • 2016 Re-Directed, Gilded Pear Gallery, Cedar Rapids, IA • Union, Trisolini Gallery, Athens, OH
SELECTED GROUP EXHIBITIONS
2025 43rd Annual Contemporary Crafts, Mesa Arts Center, AZ
• 2024 21st Annual Ceramics Invitational, Abel Contemporary Gallery, Stoughton, WI • Cedar River Artisans, Waterloo Center for the Arts, IA • 2023 State of Clay, Indiana University, Bloomington • Earth and Fire, Stifel Fine Arts Center, Wheeling, WV • Shapes of Influence, Springfield Art Association, IL • 2022 Off Center Blue Line Arts, Roseville, CA • 2022 Sculpture National, Clay Center of New Orleans
• 2021 Collaboration Gulf Coast State College, Panama City, FL • The Archive Wiley House Museum, Bloomington, IN • 2019 Contact, Kvalitárˇ Gallery, Prague, Czech Republic • Terra Nova, Cedar Rapids Museum of Art, IA • 2018 Wichita National, Reuben Saunders Gallery, KS • 18th International Symposium of Ceramics Bechyně, Alšova jihocˇeská, Mezinárodní muzeum keramiky, Czech Republic • Re-Union, Bing-Davis Memorial Gallery, Upper Iowa University, Fayette • 2015 16 Days, International Ceramics Studio, Kecskemét, Hungary
PROFESSIONAL EXPERIENCE
2024-2027 Board Member, Artaxis • 2016-Present Executive Director, Iowa Ceramics Center and Glass Studio, Cedar Rapids • 2026 Visiting Artist/Lecturer, Emporia State University, KS • 2025 Visiting Artist/Lecturer, University of Illinois, Springfield • 2022 Visiting Artist/Lecturer, Northwest Missouri State University, Maryville
SELECTED AWARDS / FELLOWSHIPS / GRANTS
2025 Best of Show, 43rd Annual Contemporary Crafts Exhibition, Mesa Art Center, AZ • 2023 McKnight Artist Residency for Ceramic Artists, Northern Clay Center, Minneapolis • 2022 Artist Catalyst Grant, Iowa Arts Council • Best of Show, Off Center National Ceramics Competition, Blue Line Arts, Roseville, CA • 2018 Women of Achievement Award, Arts and Culture, Waypoint, Cedar Rapids, IA
Joon Hee Kim
Ellen Kleckner
Born: August 7, 1974, Seoul, Republic of Korea (South Korea)
Born: August 16, 1982, Pasadena, California
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 and culture in Minnesota, neuroscience, and global food systems.
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 and culture bearers thrive, the McKnight Foundation’s arts and culture program is one of the oldest and largest of its kind in the country. Support for individual working Minnesota artists and culture bearers has been a cornerstone of the program since it began in 1982. The McKnight Artist & Culture Bearer Fellowships Program provides annual, unrestricted cash awards to outstanding midcareer Minnesota artists in 15 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.
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
2007
F Mike Norman
F Joseph Kress
R Greg Crowe
R John Lambert
R Lee Love
R Alyssa Wood
2008
F Andrea Leila Denecke
F Marko Fields
R Ilena Finocchi
R Margaret O’Rorke
R Yoko Sekino-Bové
R Elizabeth Smith
2009
F Ursula Hargens
F Maren Kloppmann
R Jonas Arcˇikauskas
R Cary Esser
R Alexandra Hibbitt
R Ryan Mitchell
2010
F Linda Christianson
F Heather Nameth Bren
R William Cravis
R Rina Hongo
R Naoto Nakada
R Kevin Snipes
2011
F Gerard Justin Ferrari
F Mika Negishi Laidlaw
R David Allyn
R Edith Garcia
R Peter Masters
R Janet Williams
2012
F Brian Boldon
F Ursula Hargens
R Pattie Chalmers
R Haejung Lee
R Ann-Charlotte Ohlsson
R Nick Renshaw
2013
F Keisuke Mizuno
F Kimberlee Joy Roth
R Claudia Alvarez
R Tom Bartel
R Sanam Emami
R Sarah Heimann
2014
F Kelly Connole
F Kip O’Krongly
R Jessica Brandl
R Jae Won Lee
R Amy Santoferraro
R Andy Shaw
2015
F Ursula Hargens
F Mika Negishi Laidlaw
R Kathryn Finnerty
R Lung-Chieh Lin
R Helen Otterson
R Joseph Pintz
2016
F Nicolas Darcourt
F Sheryl McRoberts
R Eva Kwong
R Forrest Lesch-Middelton
R Anthony Stellaccio
R Kosmas Ballis
2017
F Xilam Balam Ybarra
F Mic Stowell
R Derek Au
R Linda Cordell
R Bryan Czibesz
R Ian Meares
2018
F Brett Freund
F Donovan Palmquist
R Ted Adler
R Alessandro Gallo
R Hidemi Tokutake
R Leandra Urrutia
2019
F Kelly Connole
F Guillermo Guardia
R Pattie Chalmers
R Rebecca Chappell
R Hyang Jin Cho
R Marcelino Puig-Pastrana
2020
F Andrea Leila Denecke
F Brad Menninga
R Ashwini Bhat
R Edith Garcia
R Tom Hubbard
R Roberta Massuch
2021
F Mike Helke
F Juliane Shibata
R Claudia Alvarez
R Eliza Au
R Lynn Hobaica
R Janina Myronova
2022
F Tony Kukich
F Ginny Sims
2023
F Chotsani Elaine Dean
F Anna Metcalfe
R Larry Buller
R Karima Duchamp
R Joon Hee Kim
R Ellen Kleckner
2024
F Maggie Jaszcza
F Ani Kasten
R Birdie Boone
R Uriel Caspi
R Sana Musasama
R Dorothea Nold
R KyoungHwa Oh
R Suze Lindsay
F = Fellowship Recipient • R = Residency Recipient
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 Six McKnight Artists
Maria Hennen, Galleries Coordinator
Sean Lofton, Education and Artist Services Manager
Tippy Maurant, Deputy Director/ Director of Galleries & Exhibitions (Ret.)
Jasa McKenzie, Exhibition Manager
Kyle Rudy-Kohlhepp, Executive Director
The exhibition program is part of a team that excels in supporting one another. This exhibition is the culmination of years of work by every person on staff. We gratefully acknowledge everyone who contributed to the success of Six McKnight Artists.
Board of Directors
Mary K. Baumann, Chair
Craig Bishop
Evelyn Weil Browne
Lisa M. Agrimonti
James Ebner
Frank Fitzgerald
Mike Karels
Kate Maury
Marcela Sánchez
Debbie Schumer
Roman Serrano
©2025 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, 2025
International Standard Book Number 1-932706-71-2
Unless otherwise noted, all dimensions in inches: height precedes width precedes depth.
Honorary Director
Kay Erickson
Legacy Directors
Andy Boss
Warren MacKenzie
Joan Mondale
Directors Emeriti
Emily Galusha
Sarah Millfelt
Photographs of ceramic works: Peter Lee
Portraits and catalog design: Joseph D.R. OLeary (vetodesign.com)
Editor: Jesse Roth
Essayist: Rachael Marne Jones