2022 – Houston Center for Contemporary Craft https://crafthouston.org Houston Center for Contemporary Craft (HCCC) is a nonprofit arts organization founded to advance education about the process, product and history of craft. HCCC’s major emphasis is on objects of art made primarily from craft materials: clay, fiber, glass, metal, wood or found/recycled materials. Thu, 11 Jan 2024 18:51:24 +0000 en-US hourly 1 https://wordpress.org/?v=6.7.1 https://crafthouston.org/wp-content/uploads/2023/12/hccc-fav-1-76x76.png 2022 – Houston Center for Contemporary Craft https://crafthouston.org 32 32 CraftTexas 2022 https://crafthouston.org/exhibition/crafttexas-2022/ https://crafthouston.org/exhibition/crafttexas-2022/#respond Fri, 01 Jul 2022 21:11:42 +0000 https://crafthouston.org/exhibition/crafttexas-2022/

Fall Exhibitions Reception
Friday, September 30, 5:30 – 8:00 PM
Juror Andres Payan Estrada will be present to select the Award of Merit prizes for best in show.

Juror’s Tour with Andres Payan Estrada
Saturday, October 1, 3:00 – 4:00 PM
Juror Andres Payan Estrada will discuss the works on view in the exhibition.

CraftTexas 2022 is the eleventh in a series of juried exhibitions showcasing the best in Texas-made contemporary craft. Juried by Andres Payan Estrada, the curator of public engagement at Craft Contemporary in Los Angeles, CA, this year’s show includes 40 pieces by nearly 30 artists, highlighting works that speak to personal stories of struggle and resilience, while challenging expectations of contemporary craft. Filling both the main and front gallery spaces at HCCC, the exhibition includes a wide variety of artworks and installations, with a particularly strong showing of work created from fiber, metal, and mixed media.

The CraftTexas series provides a unique opportunity for Texas artists to have their work viewed by a nationally recognized juror and to display their work in an exhibition that strives to broaden the understanding of contemporary craft. Payan Estrada, who was raised in Texas, selected his favorite works from a pool of more than 250 applicants. In his juror’s statement, he commented: “What coalesced from spending time with all the entries and methodically pulling selections is a somber exhibition that addresses a history and lineage in craft thought, while at the same time challenging some of the preconceived definitions, histories, and cannons that have commonly been upheld through craft. Throughout the exhibition, one will encounter more nuanced and poetic approaches to identity politics, personal histories, and communal experiences.”

Read Payan Estrada’s full Juror Statement here.

CraftTexas 2022 Artists
Olaniyi Rasheed Akindiya
Eliza Hang Yee Au
Vincent Burke
Alejandra Carrillo-Estrada
Angela Corson
Erin Cunningham
Juan Escobedo
Cynthia Evans
Karla Garcia
René Garza
Nela Garzon
Ian Gerson
Timothy Gonchoroff
Roberto Jackson Harrington
Brandon Harris
René Lee Henry
Shang-Yi Hua
Qing Liu
Sarah Nance
Guadalupe Navarro
Tiffany Angel Nesbit
Abigail Ogle
Steve Parker
Lauren Peterson
Kamila Szczesna
Chet Urban
Dongyi Wu

About the Juror
Raised between Ciudad Juarez, Chihuahua, Mexico and El Paso, Texas, Andres Payan Estrada currently works in Los Angeles, California. As an artist and curator, his practice focuses on issues revolving around contemporary craft and ceramics, including material and object explorations on queer and identity-based politics. Payan Estrada is currently the curator of public engagement at Craft Contemporary and recently served as a special visiting art faculty member at the California Institute of the Arts and as a mentor at Warren Wilson College’s Master of Arts in Craft Studies program. Payan Estrada is also the co-curator and co-founder of Craft Contemporary’s National Clay Biennial, as well as the founding organizer of the annual fundraiser and sale, CLAY LA. He recently curated the exhibition, Total Collapse: Clay in the Contemporary Past (2020), for the Arizona State University Museum and the Rubin Center at the University of Texas at El Paso, along with establishing POTLUCK, a biennial clay and ceramics fundraiser, auction, and free public program series that benefits Craft Contemporary.

CraftTexas 2022 is generously funded in part by a grant from Texas Commission on the Arts and the National Endowment for the Arts.

 


Image credits:

  1. Abi Ogle, “Southern Hospitality: Casserole Dish Holder,” 2021. Silver, avena fatua from Houston, TX. Approximately 18 x 12 x 4 inches. Photo by the artist.
  2. Angela Corson, “Trappings,” 2020. All components made from metal. Patterns and flowers made with a plasma cutter. 6 x 4 x 4 feet. Photo by Gary Griffin.
  3. Rene Lee Henry, “Condemned” (brooch), 2020. Steel, cement, carpet tape, brass, flagging tape. 3 x 1.5 x 2.5 inches. Photo by the artist.
  4. Olaniyi Rasheed Akindiya, “OSU MEJILA ATI ODUN KAN – 12 MOON IS ONE COMPLETE CALENDAR YEAR,” 2020. Mixed-media tapestry sculpture installation. 100 x 26 x 100 inches. Photo by ARTWITHAKIRASH STUDIO LLC.
  5. Erin Cunningham, “Refined,” 2022. Iron, sterling silver. 20 x 12 x 2 inches. Photo by the artist.
  6. Nela Garzon, “Kawsaqi,” 2020. Mixed media on repurposed toy laptop. Approximately 8 x 8 x 10 inches. Photo by the artist.
  7. Vincent Burke, “Riptide” (side view), 2021. Ceramic. 7 x 5 x 3 inches. Photo by the artist.
  8. Ian Gerson, “Threshold,” 2022. Ropes, dried palms, mylar, mesh, clothing, plastic. 56 x 36 x 2 inches. Photo by Nash Baker.
  9. Shang-Yi Hua, “Hollow,” 2019. Tree bark, Tazo bark. Approximately 4 x 12 x 5 inches. Photo by Will Michels.
  10. Lauren Peterson, “Mismatched Napery (Blue Christmas),” 2021. Pochoir and thread on fabric and mixed media (artificial flowers, pipe cleaners, ribbon on hand towel). 18 x 11 inches. Photo by the artist.
  11. Dongyi Wu, “Access to Unknown Worlds 7,” 2020. Copper, steel, plastic, clay, wax thread. 15.7 x 35 x 4.1 inches. Photo by the artist.
  12. Juan Escobedo, “Unofficial, unauthorized Reebok collaboration x J.ESC,” 2022. Cardboard, wood, paper on sneakers.3 x 4.5 x 11.5 inches. Photo by the artist.
  13. Kamila Szczesna, “I am,“ 2021. Hair, tulle. 30 x 15 x 4 inches. Photo by the artist.
  14. Guadalupe Navarro, “Viaje,” 2020. Copper, silver, brass. 24 x 18 x 18 inches. Photo by Shawn Campbell.
  15. Eliza Hang Yee Au, “Solitude,” 2021. Stoneware, cone 6. 19 x 19 x 19 inches. Photo by Megan DeSoto.
  16. Roberto Jackson Harrington, “Tuca,” 2022. Mixed media. 16 x 14 x 13 cm. Photo by the artist.

 

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In Residence: 15th Edition https://crafthouston.org/exhibition/in-residence-15th-edition/ https://crafthouston.org/exhibition/in-residence-15th-edition/#respond Thu, 02 Jun 2022 23:24:12 +0000 https://crafthouston.org/exhibition/in-residence-15th-edition/

Tour of “In Residence: 15th Edition”
Saturday, August 27, 3:00 – 3:30 PM

In Residence: 15th Edition celebrates the Artist Residency Program, which has supported artists working in the field of craft for more than two decades. The show features work in clay, metal, and fiber by 2021-2022 resident artists, Joan Clare Brown, Kelly Dzioba, Priscilla Dobler Dzul, Jihye Han, Chenlu Hou, Carl Johnson, Naomi Peterson, Kerianne Quick, Nash Quinn, and Stephanie J. Woods.

The Artist Residency Program at HCCC gives resident artists a space for creative exploration, exchange, and collaboration with other artists, arts professionals, and the public. HCCC Curatorial Fellow Cydney Elaine Pickens notes, “What separates In Residence: 15th Edition from its predecessors is the collaboration among residents. While some of these artists had the opportunity to create collaboratively in person, others were in conversation about how their practices may align or differ, and each was uniquely impacted by their residency here in Houston.”

In Residence: 15th Edition was curated by HCCC Curatorial Fellow, Cydney Elaine Pickens.


Image credits:

  1. Chenlu Hou, “Props-I,” 2022. Clay, zip-ties, light blobs. Photo by the artist.
  2. Joan Brown and Nash Quinn collaboration “Untitled,” 2022.
  3. Stephanie J. Woods, “Shake EM,” 2022. Afro hair, yarn, beads, and hand-dyed fabric. Photo courtesy of the artist.
  4. Kerianne Quick, “Linked,” 2022. Brass, gold plate, rubber. Photo by the artist.
  5. Carl Johnson, “33’ Waffle.” Cotton and steel wire. Photo by the artist.
  6. Kelly Dzioba, “Untitled (Color Shift Felt Weave)” 2021. Party beads and plywood. 16 inches x 16 inches. Photo courtesy of the artist.
  7. Jihye Han, “How to be an adult,” 2022. White Stoneware with white slip, underglaze, glaze, Cone 6 oxidation fired. 15.5 x 12 x 14.5 inches. Photo courtesy of the artist.
  8. Nash Quinn, “Space City Stash Box,” 2022. Enameled copper and sterling silver. Photo by the artist.
  9. Joan Clare Brown, “Untitled,” 2022. Porcelain, mason stain. 6 x 6 x 5 inches. Photo by the artist.
  10. Chenlu Hou, “Props-I,” 2022. Clay, zip-ties, light blobs. Photo by the artist.
  11. Naomi Peterson, “Soft Goblet,” 2022. Red stoneware, cone 5 oxidation. Photo by the artist.
  12. Kerianne Quick, “Baddy Two Shoes,” 2022. Leather, brass, gold plate. Photo by the artist.
  13. Stephanie J. Woods, “the wait of it,” 2020. Nine years of detangled afro hair formed into a loosely woven vessel, red clay, and umbrella tree. Photo courtesy of the artist.
  14. Jihye Han, “SheepSleep,” 2022. White Stoneware with white slip, underglaze, glaze, Cone 6 oxidation fired. 10 x 7.5 x 11 inches.  Photo courtesy of the artist.
  15. Joan Clare Brown, “Untitled,” 2022. Porcelain, mason stain, glaze, luster. 7 x 8 x 4.5 inches. Photo by the artist.
  16. Kelly Dzioba, “Untitled (Color Shift Felt Weave)” 2021. Party beads and plywood. 16 inches x 16 inches. Photo courtesy of the artist.
  17. Carl Johnson, “9’ Undulating.” Cotton and steel wire. Photo by the artist.
  18. Naomi Peterson, “More more more,” 2022. Red stoneware, cone 5 oxidation. Photo by the artist.
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Made to Last: The Legacy of the Jubilee Quilt Circle https://crafthouston.org/exhibition/jubilee-quilt-circle/ https://crafthouston.org/exhibition/jubilee-quilt-circle/#respond Thu, 14 Apr 2022 01:22:03 +0000 https://crafthouston.org/exhibition/jubilee-quilt-circle/

Summer Exhibitions Reception
Friday, May 27, 5:30 – 8:00 PM

Hands-on Houston: Quilt Patterns in Felt
Saturday, June 4, 11:00 AM – 3:00 PM

Looking at Legacy: Tour of Made to Last
Saturday, June 4, 3:00 – 4:00 PM

HCCC is pleased to present Made to Last: The Legacy of the Jubilee Quilt Circle, held in conjunction with the 35th anniversary of The Community Artists’ Collective (The Collective). Featuring a selection of quilts made by current participants and founding members, the exhibition celebrates the history of The Collective’s Jubilee Quilt Circle and honors the quilting traditions and narratives of the African American community.

Serving as an educational and cultural link among African American artists and all communities, the Community Artists’ Collective has always made quilting and sewing an important part of their programming. In 2007, they officially named The Jubilee Quilt Circle as a regular program, open to anyone interested in learning or sharing their quilting, knitting, crocheting, and/or embroidery projects. In addition to hosting weekly meetings, the Circle promotes the legacy of African American quilting (a longstanding tradition, with roots in Africa) through workshops, art fairs, and community outreach.

The exhibition celebrates the transformative process of quilting and the powerful connections this art form creates across generations. Serving as loving and creative embodiments of the members who made them, the quilts on view incorporate materials, narratives, and techniques from the past to build a lasting legacy for future generations. Many reference symbolism, such as the coded patterns of the Underground Railroad quilts that guided travelers many years ago. Current members of The Collective often reflect on their ancestors’ preference for hand sewing over machine stitching, a contrast to the combination of techniques and free improvisation they currently use to add their own creative signatures to their works.

The quilts on view express a variety of stories and artistic styles. Established quilter Leslie Abrams relocated to Houston, after evacuating from New Orleans due to Hurricane Katrina. Many of her quilts were destroyed in the flood; however, the exhibition will feature Migration (2006), one of her salvaged and prized hand-stitched quilts. Works like Underground Railroad (2019), by Hastle Murray, exemplify the ingenuity often used in quilt making. Murray’s unique approach to fabric printing allowed her to share the history of the Underground Railroad without breaking the bank. By scanning hand-colored images from Peter F. Copeland’s The Story of the Underground Railroad Coloring Book, Murray was able to run muslin cloth through her inkjet printer to produce stunning images on the fabric, which then could be sewn onto her quilt and embellished.

Hope (1987–2017), created by The Collective’s co-founder and executive director, Michelle Barnes, was created over a 30-year span, as a “labor of love” for her son, Barry. This quilt, like many others included in the exhibition, reflects the hard work and dedication that these artists have for their loved ones and the community as a whole. Barnes commented, “Quilting is actually a metaphor that stitches creativity, comfort, love, protection, hope, happiness and more. I hope the quilts will bring joy and conjure up warm and wonderful memories for all who view them.”

Made to Last: The Legacy of the Jubilee Quilt Circle is co-curated by HCCC Curator Kathryn Hall and HCCC Curatorial Fellow Cydney Elaine Pickens.

About The Community Artists’ Collective
The Collective serves as an educational and cultural link among African American artists and all communities to inspire unlimited creativity. It aims to serve as a bastion for cross-cultural appreciation, artistic empowerment, and accessibility to the arts by fostering racial and ideological inclusivity among Houston’s local art community.  More information about The Community Artists’ Collective can be found at www.thecollective.org. The Jubilee Quilt Circle meets every Thursday, from 11 AM – 3 PM, and Friday, from 1 – 3 PM at The Collective, 4101 San Jacinto Street, Suite 116, Houston, Texas 77004.


Image credits:

  1. Ronah Brown, detail of “Family Tree” (2019). Photo courtesy Houston Center for Contemporary Craft.
  2. Ronah Brown, detail of back side of “Family Tree” (2019). Photo courtesy Houston Center for Contemporary Craft.
  3. Hastle Dean Murray, detail of “Chevron Towers” (2021). Photo courtesy Houston Center for Contemporary Craft.
  4. Hastle Dean Murray, detail of “Chevron Towers” (2021). Photo courtesy Houston Center for Contemporary Craft.
  5. Leslie Abrams, “Flying from the Sun (African Couple).” Photo courtesy Houston Center for Contemporary Craft.
  6. Leslie Abrams, detail of “Flying from the Sun (African Couple).” Photo courtesy Houston Center for Contemporary Craft.
  7. Leslie Abrams,“Kickin’ Oil.” Photo courtesy Houston Center for Contemporary Craft.
  8. Leslie Abrams, detail of “Kickin’ Oil.” Photo courtesy Houston Center for Contemporary Craft.
  9. Leslie Abrams, detail of “Kickin’ Oil.” Photo courtesy Houston Center for Contemporary Craft.
  10. Leslie Abrams, “Welcome (Citizenship Quilt).” 94 x 77.5 inches. Photo courtesy Houston Center for Contemporary Craft.
  11. Leslie Abrams, detail of “Welcome (Citizenship Quilt).” 94 x 77.5 inches. Photo courtesy Houston Center for Contemporary Craft.
  12. Hastle Dean Murray, detail of “Juneteenth” (2019). T-shirts, hooks, and quilting. Photo courtesy Houston Center for Contemporary Craft.
  13. Hastle Dean Murray, detail of “Untitled (Top).” Photo courtesy Houston Center for Contemporary Craft.
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A Dressing the Future: The Ecofiction of Nicole Dextras https://crafthouston.org/exhibition/a-dressing-the-future-the-ecofiction-of-nicole-dextras/ https://crafthouston.org/exhibition/a-dressing-the-future-the-ecofiction-of-nicole-dextras/#respond Wed, 16 Mar 2022 20:01:46 +0000 https://crafthouston.org/exhibition/a-dressing-the-future-the-ecofiction-of-nicole-dextras/

Summer Exhibitions Reception
Friday, May 27, 5:30 – 8:00 PM
The evening will also feature open studios by the current resident artists.

Tour of A Dressing the Future
Saturday, May 28, 3:00 – 4:00 PM

A Dressing the Future: The Ecofiction of Nicole Dextras explores the exemplary craftsmanship of environmental artist Nicole Dextras’ set and costume designs from her dystopian film trilogy, A Dressing the Future (2016—present). Giving a unique, behind-the-scenes look at the artist’s process, the show features video excerpts; a selection of plant-based costumes; and ephemera that includes props, models, and other set components.

Inspired by the environmental art movement that emerged in the 1960s, Dextras shares a concern for the health of the planet and the environmental consequences of human behavior and the global economy. Her artistic practice, which incorporates her meticulous use of materials, encourages sustainable decision-making on an individual level, as well as within the fashion and film industries.

Presenting three challenging futures affected by fire, desertification, and flooding, respectively, Dextras’ narratives counter the reductive post-apocalyptic films of Hollywood, focusing on the dignity and strength of the survivor. When faced with material shortages, her protagonists provide a hopeful glimpse into the resourcefulness of future creatives by working in tandem with other living species to survive their dystopian surroundings.

The first film of the trilogy, Waiting for Spring: Persephone and the Pomegranate (2016), depicts a young woman who is sequestered in an abandoned warehouse due to encroaching forest fires. She wears a jacket made of pomegranate peels and a mask filled with herbs to protect herself from caustic smoke as she forages for food.

In her second film, Chronos: Time of Sand (in production), Dextras relies on strong visuals to demonstrate how Chronos turns to weaving, basketry, and plant cultivation to live within formerly thriving agricultural lands affected by megadroughts. In her director’s statement for the film, Dextras says, “This short film works on many levels: it is a survival story, it is an ode to clever inventions, and an exposé on the impacts of industrial agriculture. My choice of drama instead of the documentary genre is based on my interest in imagination as a means to propel us into an environmentally secure future.” Chronos weaves clothing from fiber processed from Yucca plants and dyes it with indigo; he also weaves a tower, based on Italian architect Arturo Vittori’s designs, that catches dew in the desert plateau, to be used as a water source.

The third film, which presents a future affected by flooding, is still in development. Dextras’ time in Houston will inform her research for this story, and the exhibition will include visual research and test samples.

Each of Dextras’ eco fictions echoes the aftermath of recent natural disasters. HCCC Curator Kathryn Hall comments, “Faced with the realities of climate change, Nicole’s film trilogy is hopeful. Despite the circumstances of fire, drought, and flooding, coupled with the lack of digital technology, her characters are resilient and resourceful as they turn to longstanding craft-based practices and their ability to coexist with plant and animal species to survive.”

A Dressing the Future: The Ecofiction of Nicole Dextras is curated by HCCC Curator Kathryn Hall. The exhibition is made possible in part by generous support from Texas Commission on the Arts and the National Endowment for the Arts.

About Nicole Dextras
Based in Vancouver, Canada, Nicole Dextras’ studio practice utilizes film and transformative and often immersive installations to explore the concept of existential fragility and to mark the evolution of time. She graduated from the Emily Carr University of Art + Design with a degree from the interdisciplinary department in 1986. Dextras has exhibited her work internationally, including in Canada, the United States, Europe, and Asia. Her recent exhibitions include States of Collapse (2021, group exhibition) at the Dunlop Art Gallery in Regina, Saskatchewan; Courants vert (2020, group exhibition) at L’espace Fondation EDF in Paris; and The Dystopian Museum (2019, solo exhibition) at the Richmond Cultural Center in British Columbia. Dextras has received numerous awards and residencies, including the Surface Design Association’s Craftivism Award (2017), the Art of Healing Network Environmental Artist Award (2013), and several grants from the BC Arts Council as well from the Canada Council for the Arts. In 2020, her work was featured as part of the United Nations Postal Administrations’ Earth Day stamp collection. Her solo exhibition at HCCC marks the debut of her work in Texas.


Image credits:

  1. Nicole Dextras, “Persephone’s Reflection,” 2016. Film still from Waiting for Spring: Persephone and the Pomegranate. Photo by the artist. Courtesy of the artist.
  2. Nicole Dextras, “Persephone’s Jacket,” 2016. Film still from Waiting for Spring: Persephone and the Pomegranate. Photo by the artist. Courtesy of the artist.
  3. Nicole Dextras, “Chronos Headpiece,” 2021. Film still from CHRONOS, time of sand. Photo by Bruna Xavier. Courtesy of the artist.
  4. Nicole Dextras, “Chronos Weaving through Warp,” 2021. Film still from CHRONOS, time of sand. Photo by artist. Courtesy of the artist.
  5. Nicole Dextras, “Chronos and the Amulet,” 2021. Film still from CHRONOS, time of sand. Photo by the artist. Courtesy of the artist.
  6. Nicole Dextras, “Chronos Jacket,” 2021. Yucca, abaca, silk fiber, willow bark, durian peels, recycled jeans and sash, reed, cotton string. Photo by the artist. Courtesy of the artist.
  7. Nicole Dextras, “Chronos and Iguana,” 2021. Film still from CHRONOS, time of sand. Photo by the artist. Courtesy of the artist.
  8. Nicole Dextras, “Pomegranate Dress,” 2016. Pomegranate peels, Snow fungus, dates, fish maw, thorns. Photo by the artist. Courtesy of the artist.
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Sawed, Soldered, Constructed: The Work of the Houston Metal Arts Guild https://crafthouston.org/exhibition/sawed-soldered-constructed/ https://crafthouston.org/exhibition/sawed-soldered-constructed/#respond Tue, 01 Mar 2022 23:57:29 +0000 https://crafthouston.org/exhibition/sawed-soldered-constructed/ This spring, Houston Center for Contemporary Craft is pleased to present Sawed, Soldered, Constructed: The Work of the Houston Metal Arts Guild, a juried member exhibition of the Houston-based guild comprised of jewelry and metal artists.  Featuring works by 36 artists, the exhibition was juried by Cindi Strauss, Sara and Bill Morgan Curator of Decorative Arts, Craft, and Design and Assistant Director, Programming, at the Museum of Fine Arts, Houston.

The exhibition celebrates the wide range of design, processes, and techniques used in contemporary jewelry and metalwork. The sleek sophistication of Nash Quinn’s Elytra Vessel (2022) presents a strikingly different interpretation of contemporary metalsmithing when compared to the patinated copper frame in Beginnings and Endings (2022), crafted by Tarina Frank. While some of these works are purely sculptural, several functional and wearable pieces, such as Mary Davenport’s Chinese Turquoise Necklace (2016), contribute to the diverse and impressive selection of the works on view.

About HMAG

The Houston Metal Arts Guild (HMAG) is a non-profit organization made up of people with varying interests and involvement in traditional and contemporary jewelry and metal arts. HMAG was founded to provide opportunities to exchange ideas and information, as well as offer affordable educational opportunities to its members and the public. The skills, energy, and enthusiasm of the HMAG members promote and sustain its successful programs. Learn more about HMAG at https://www.hmag.org.

About the Juror

Cindi Strauss is the Sara and Bill Morgan Curator of Decorative Arts, Craft, and Design and Assistant Director, Programming at the Museum of Fine Arts, Houston (MFAH). She received her B.A. with honors in art history from Hamilton College and her M.A. in the history of decorative arts from the Cooper-Hewitt/Parsons School of Design. At the MFAH, Cindi is responsible for the acquisition, research, publication, and exhibition of post-1900 decorative arts, design, and craft with a specialty in contemporary jewelry. She has authored or contributed to catalogs and journals on decorative arts and design topics and has been a frequent lecturer at museums nationwide. Her most recent publication is the book, In Flux; American Jewelry and the Counterculture, co-authored with Susan Cummins and Damian Skinner.

 


Image credits:

  1. Diane Falkenhagen, “Native Species Series: Danaus Plexippus,” 2019. Stainless steel and graphite drawings on power-coated stainless elements. Photo by Diane Falkenhagen.
  2. Michael Gayk, “The Kiss,” 2019. Fabricated Pewter. 9 x 6 x 6 inches. Photo courtesy of Michael Gayk.
  3. Nash Quinn, “Elytra Vessel,” 2022. Steel and brass. 4.5 x 3 x 3 inches. Photo by Nash Quinn.
  4. Sandra Zilker, “Spikey and Curvey Stripes,” 2019. Sterling silver, 3D printing, resin, onyx. 3.5 x 3.5 x 2 inches. Photo courtesy of Sandra Zilker.
  5. Tarina Frank, “Beginnings and Endings,” 2022. Copper, oil on wood, photo on paper. 6 x 4 x 1 inches. Photo by Tarina Frank.
  6. René Lee Henry, “Cityscape-2,” 2021. Copper, paint. concrete, steel. moss, brass. 1.5 x 1.5 x 1.5 inches. Photo by Rene Henry.
  7. Mary T. Davenport, “Chinese Turquoise Necklace,” 2016. Leather necklace featuring shed deer antler, sterling silver, Chinese turquoise, 14K gold accents. 24 x 3.5 x 3 inches. Photo by PWLStudio.com. Photo courtesy of Mary Davenport.
  8. Dawna Gillespie, “Dissection,” 2019. Copper, brass, wire, velvet ribbon. 20.5 x 11.5 x 1 inches. Photo courtesy of Dawna Gillepsie.
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Limitless: The 2021 Recipients of ClayHouston’s Award for Texas BIPOC Ceramic Artists https://crafthouston.org/exhibition/limitless-the-2021-recipients-of-clayhoustons-award-for-texas-bipoc-ceramic-artists/ https://crafthouston.org/exhibition/limitless-the-2021-recipients-of-clayhoustons-award-for-texas-bipoc-ceramic-artists/#respond Tue, 07 Dec 2021 23:19:00 +0000 https://crafthouston.org/exhibition/limitless-the-2021-recipients-of-clayhoustons-award-for-texas-bipoc-ceramic-artists/ Limitless: The 2021 Recipients of ClayHouston’s Award for Texas BIPOC Ceramic Artists features work by Jihye Han, Tammie Rubin, and Earnest Snell. As members of the Texas clay community, these artists represent the versatility of clay, exemplifying the limitless potential of processes, forms, and styles, through narratives related to identity, acculturation, and belonging. The works on view demonstrate how clay as a material eloquently captures the ever-changing nature of identity, while embodying the gritty narratives of the human condition.

As a member-based organization dedicated to cultivating, promoting, and advancing the ceramic arts in Houston and beyond, ClayHouston created this inaugural awards program to bring attention and funding to outstanding Texas-based ceramicists who self-identify as Black, Indigenous, and/or People of Color (BIPOC). ClayHouston President Jessica Phillips commented, “Since 2020, the ClayHouston board has spent time reflecting upon the field of ceramics, both locally in Houston, as well as more broadly in the US. Our goal is to support artists who are affected by systemic racism as well as the economic uncertainty that COVID has created. By creating the Award for Texas BIPOC Ceramic Artists, we hope to cultivate greater equity, inclusivity, and access in ceramic arts.”

The awards were juried by nationally renowned artists Natalia Arbelaez (Miami, FL), Adam Chau (Cold Spring, NY), Jennifer Ling Datchuk (San Antonio, TX), and Roberto Lugo (Philadelphia, PA). In response to a positive influx of applications, they requested to include a third award, Honorable Mention, in addition to Emerging and Mid Career and Beyond awards. The exceptional level of talent demonstrated by Han, Rubin, and Snell foregrounds the importance of elevating BIPOC perspectives and their triumphs. Through the artists’ personal insights into the complexities of identity, they reveal nuances about how individuals relate to one another.

Limitless: The 2021 Recipients of the ClayHouston Award for Texas BIPOC Ceramic Artists is curated by HCCC Curatorial Fellow Cydney Elaine Pickens.

About the Featured Artists

Jihye Han, Emerging Award Recipient

Jihye Han, working in Houston, Texas, received her BFA in sculpture and ceramics from the University of North Carolina at Greensboro and her MFA in ceramics from the University of North Texas. She has exhibited at 500X Gallery (Dallas, TX), CICA Museum (Gimpo, South Korea), Clay Center of New Orleans, and other venues. She is the recipient of many awards and fellowships, including a 2021 Graduate Student Fellowship for the National Council on Education for the Ceramic Arts (NCECA) and a 2022 residency with Houston Center for Contemporary Craft.

Tammie Rubin, Mid Career & Beyond Recipient

Born in Chicago, IL, Tammie Rubin is currently Associate Professor of Ceramics and Sculpture at St. Edward’s University in Austin, TX. Rubin received her BFA in ceramics and art history from the University of Illinois, Urbana-Champaign, and an MFA in ceramics at the University of Washington in Seattle. She has exhibited nationwide at Women & Their Work (Austin, TX), The South Dallas Cultural Center (Dallas, TX), Rockford Art Museum, and other venues. Rubin founded Black Mountain Project, along with fellow Austin-based artists Adrian Aguilera and Betelhem Makonnen. Currently, she is a member of the non-profit cooperative gallery, ICOSA Collective, and serves as Vice Chair of the City of Austin’s Cultural Arts Division Art in Public Places Panel.

Earnest Snell, Honorable Mention Recipient

Earnest Snell is a self-taught artist located in Houston, TX. He is currently represented by Foelber Gallery and Pottery Studio and has been working with ceramics for 15 years. In early 2021, he had a solo exhibition at Foelber Gallery, entitled, Earnest Snell at 70. A Retrospective in Clay.

About ClayHouston

ClayHouston exists to cultivate, promote, and advance the ceramic arts in the Houston Metropolitan area and beyond.  Founded in 2004 as a volunteer-run 501(c)3 non-profit, the organization works to provide their members with opportunities through education, professional development, exhibitions, workshops, and programs, while partnering with local arts organizations to further their reach. Additionally, they create recreational programs as an opportunity for members to socialize, build community, and learn from one another in a casual atmosphere. Learn more about ClayHouston at www.clayhouston.org.

 


Image credits:

  1. Tammie Rubin, “Always & Forever (ever, ever) No.8” (detail), 2021. Pigmented porcelain, underglaze. Photo by Hector Martinez. Photo courtesy of Tammie Rubin.
  2. Tammie Rubin, “Always & Forever (ever, ever) No.9,” 2021. Pigmented porcelain, underglaze. Photo by Hector Martinez. Photo courtesy of Tammie Rubin.
  3. Tammie Rubin, “Always & Forever (ever, ever) No.9,” 2021. Pigmented porcelain, underglaze. Photo by Hector Martinez. Photo courtesy of Tammie Rubin.
  4. Jihye Han, “Little Moments and Big Memories,” 2021. White stoneware, cone 6 oxidation, 19” high x 13” wide x 13” deep. Photo by Yeonsoo Kim. Photo courtesy Jihye Han.
  5. Jihye Han, “Flowers are like friends; they bring color to your world,” 2021. White stoneware, cone 6 oxidation, 17” high x 11” wide x 12“ deep. Photo by Yeonsoo Kim. Photo courtesy Jihye Han.
  6. Jihye Han, “Journey to the West,” 2021. White Stoneware and zip ties. 35 x 35 inches. Photo by Yeonsoo Kim. Photo courtesy Jihye Han.
  7. Jihye Han, “Journey to the West” (detail), 2021. White Stoneware and zip ties. 35 x 35 inches. Photo by Yeonsoo Kim. Photo courtesy Jihye Han.
  8. Earnest Snell, “I Remember,” 2007. Stoneware with clay oxides. 24 x 11 x 10 inches. Photo by Judy Adams. Photo courtesy of Foelber Gallery & Pottery Studio.
  9. Earnest Snell, “Big Mama,” 2005. Stoneware clay with oxides. 18 x 9 x 9 inches. Photo by Judy Adams. Photo courtesy of Foelber Gallery & Pottery Studio.
  10. Earnest Snell, “Survivor,” 2005. Stoneware clay with oxides. 10 x 7 x 4 inches. Photo by Judy Adams. Photo courtesy of Foelber Gallery & Pottery Studio.
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RINGS! 1968 – 2021 https://crafthouston.org/exhibition/rings/ https://crafthouston.org/exhibition/rings/#respond Thu, 11 Nov 2021 22:39:48 +0000 https://crafthouston.org/exhibition/rings/ Rings! 1968 – 2021 features an incredible selection of wearable pieces that capture the avant-garde notions of contemporary jewelry and represent the limitless creative potential of the ring. Throughout time, rings have signified personal and cultural connections around the world, communicating marital status, membership, and belonging, as well as marking the end of an important transition or the beginning of a new reality. Showcasing experimental materials and approaches, in addition to traditional metalsmithing techniques, the rings on view in this exhibition offer an examination of the cultural, political, and personal meanings of this timeless and ubiquitous form.

Having first opened last summer at Philadelphia’s The Galleries at Moore College of Art & Design, this growing traveling exhibition features an international selection of over 100 rings. Organized by Helen Drutt, collector, educator, author, and renowned advocate of modern and contemporary craft, and researched by independent curator Elizabeth Essner with assistance from Colleen Terrell, the show highlights many works from Drutt’s expansive collection. Her collection not only serves as a historic archive of contemporary jewelry but also promotes the relevance of jewelry in today’s culture.

HCCC Executive Director Perry Price commented, “Helen Drutt has made an incalculable impact on contemporary craft, both as a collector and as the founder and director of her eponymous Philadelphia gallery. Houston is no stranger to her unique voice in contemporary jewelry, and we are honored to present this one-of-a-kind collection of rings representing work ranging from emerging makers to established masters.”


Image credits:

  1. Helen Britton, “Ghost Train,” 2009. Silver, glass, paint. Photo by Virginia Price. Courtesy of private collection.
  2. Biba Schutz, “Sparkiln Ring,” 2010. Sterling silver, fine silver, 18k gold. Photo by Ron Boszko. Courtesy of the artist.
  3. Petra Zimmermann, “Ring,” 2009. Vintage costume jewelry findings, imitation gemstones, gold leaf, oxidized silver. Photo by Virginia Price. Courtesy of private collection.
  4. Ted Noten, “Greed,” 2020. 3D-printed gold-plated steel. Photo by Virginia Price. Courtesy of private collection.
  5. Annamaria Zanella, “Blue Caos,” 2019. Cork, titanium, lapis lazuli pigment, gold. Photo by Virginia Price. Courtesy of private collection.
  6. Peter Chang, “Ring,” 2009. Acrylic, polyester, PVC. Photo by Virginia Price. Courtesy of private collection.
  7. Claus Bury, “Ring,” 1970. Gold and acrylic. Photo by Virginia Price. Courtesy of private collection. Promised Gift of Helen Williams Drutt Family Collection, Museum of Fine Arts, Houston.
  8. Georg Dobler, “Ring,” 1994. Amethyst and gold. Photo by Virginia Price. Courtesy of private collection.
  9. Sam Tho Duong, “LOOK Ring,” 2014. Oxidized silver, freshwater pearls, nylon.  Photo by Virginia Price. Courtesy of private collection.
  10. Paolo Marcolongo, “On the Road,” 2019. Murano glass and silver. Photo by Virginia Price. Courtesy of private collection.
  11. Märta Mattsson, “Inside,” 2020. Copper, beetle, cubic zirconia, lacquer, resin, silver. Photo by Virginia Price. Courtesy of private collection.
  12. Debra Rapoport, “Lichee Ring,” 2021. Toilet paper roll, paint, strips of copper, twisted paper, pipe cleaner wrapped in paper, chips of dried paint, found metal washer, found metal bottle cap, dried lichee nut.  Photo by Virginia Price. Courtesy of private collection.
  13. Niki Sawansukha, “Ring,” 2019. Found objects, seeds, legumes, wood, lacquer. Photo by Virginia Price. Courtesy of private collection.
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Nothing Goes to Waste https://crafthouston.org/exhibition/nothing-goes-to-waste/ https://crafthouston.org/exhibition/nothing-goes-to-waste/#respond Thu, 11 Nov 2021 08:02:37 +0000 https://crafthouston.org/exhibition/nothing-goes-to-waste/ Nothing Goes to Waste showcases a survey of artists who find exciting ways to reuse and repurpose materials, scraps, and castoffs through ingenuity. Highlighting works created from discarded materials like ceramic shards, cut paper, and marble remnants, the exhibition explores how salvaged material can inspire creativity and provoke curiosity about the impact various industrial and artistic processes have on the ecology of the planet.

In the face of stifling realities such as the pandemic, many artists have shifted their studio practices and enlisted community support, using reclaimed materials from their networks in meaningful ways. Prompted by recent attacks on the reliability of the U.S. Postal Service, paper artist Leigh Suggs developed her Postal Quilt series, made from thousands of security envelopes that she collected from individuals across the country. In conversation with the communal history of the medium of quilting, these folded and stitched paper compositions pay tribute to postal workers and the critical role they fill in American life.

In response to the increased production rate of single-use items, particularly following the onset of the pandemic, Calder Kamin creates colorful and entertaining creatures from recycled materials like plastic bags and cutlery. Inspired by nature’s adaptability, Kamin draws on the resourcefulness of the Earth’s biodiversity, calling upon individuals to curtail their consumption habits and make use of what they have.

While it is common knowledge that many industries yield a high volume of material waste, the amount of energy and resources expended in the production of art is less openly discussed. However, artists like ceramicist Jeff Forster are taking a closer look at the sustainability of their own practices. As an educator, Forster has developed an awareness of how much waste is produced in a single semester of his ceramic art classes.  In order to conserve resources in his own work, he collects and incorporates leftover clays, slips, and glazes into abstract sculptures. His experimental firings yield alluring fissures of color and texture that evoke the geologic origins of the multi-fired layers of his materials.

HCCC Curator Kathryn Hall comments, “Now, more than ever, we need to reevaluate how materials are collected and utilized in order to ensure the health and longevity of our planet. Nothing Goes to Waste celebrates the fun, generative, and restorative benefits of sustainability through craft practices, and we’re excited to showcase this group of artists, who contribute to the legacy of reuse in the history of craft.”

Nothing Goes to Waste is curated by HCCC Curator Kathryn Hall.


Image credits:

  1. Chase Travaille, “Shard Amphora No 5,” 2021. Shards sourced on site from the Archie Bray Foundation. 13 x 9 x 8 inches. Photo by the artist. Courtesy of the artist.
  2. Calder Kamin, “Rubbish Rat (Templeton),” 2019. Wood, foam, wire, koozies, glass eyes, plastic toys, rubbish. Photo by Philip Rogers. Courtesy of the artist.
  3. Jeff Forster, “Glaze Tectonics—Fissures,” 2021. Ceramic and Glassell Studio glaze waste. 13.5 x 17 x 4.5 inches. Photo by the artist. Courtesy of the artist.
  4. Leigh Suggs, “Postal Quilt (Black),” 2020. Folded security envelopes and book-binding thread. 36 x 36 inches. Photo by David Hunter Hale. Courtesy of the artist.
  5. Leigh Suggs making her “Postal Quilt” series, 2020. Folded security envelopes and book-binding thread. Photo by David Hunter Hale.
  6. Chase Travaille, “Shard Amphora No 1,” 2021. Shards sourced on site from the Archie Bray Foundation. 16 x 9 x 8 inches. Photo by the artist. Courtesy of the artist.
  7. Calder Kamin, “Plastic Planet Stag,” 2018. Plastic bags, steel, foam, wood, glass eyes. Photo by Philip Rogers. Courtesy of the artist.
  8. Calder Kamin, Detail of “Plastic Planet Stag,” 2018. Plastic bags, steel, foam, wood, glass eyes. Photo by Philip Rogers. Courtesy of the artist.
  9. Chase Travaille, “Shard Amphora No 7,” 2021. Shards sourced on site from the Archie Bray Foundation. 21 x11 x 9.5 inches. Photo by the artist. Courtesy of the artist.
  10. Leigh Suggs, Detail of “Postal Quilt (Black),” 2020. Folded security envelopes and book-binding thread. 36 x 36 inches. Photo by David Hunter Hale. Courtesy of the artist.
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