The Mapping of American History: "Points of Origin" at C24 Gallery

C24 Gallery - Chelsea, NYC 
560 W 24th Street 
New York, NY 10011

To the left, right, horizon, and periphery, fifty conical ceramic masks of various proportions are plotted throughout the gallery, echoing an ominous air. The staccato-sharp masks, coated with buzzing blues and adorned with pointillist protrusions, are animated with disconcerting expressions, interlocking and confronting viewers with their cryptic and unwavering gaze. Taking a reticent step closer, the contours of masonite prayer fans and plotter ink drawings featuring symbolic and figurative imagery emerge—anchoring the abstracted hoods with narratives personal to the artist, Tammie Rubin.

Originating from multiple axes to create a nexus of works revolving around the common theme of faith, Points of Origin, C24 Gallery’s latest exhibition, serves as a documentation of Rubin’s extensive historical research, a celebration of her master craftsmanship, and an intimate glimpse into her lineage. Although the ensemble of pieces possess contrasting formal qualities and viewpoints, David Terry, the director of the gallery and curator of the show, explains:

“When you think of the point of origin, and where you come from, that could be from many places. [Rubin’s] work and this body of work come from many different areas of her life, African American culture, American culture, women in her family, and the threads that make up the fabric of the country.

So when she was bringing [the pieces] out, I got really excited because they’re all from the same context, but she's exploring different media. And I love it when artists carry the same theme through but realize and recognize it through different forms, communicating at many levels to many different people.”

Creating a metaphysical altar and paying homage to her family and the Black American experience, the varying vantages harmonize in spiritual unison with their shared explorations of The Great Migration and Reconstruction—subjects Rubin hadn’t considered in her practice until she migrated to Texas in 2015. She elaborates:

“It was specifically about this idea of moving to Austin. You know, I moved here for a job, and that's when I started to think about my parents in a historical context. I'm taking from my family stories and then expanding that into larger research about other Black families that have had this experience and whose stories haven't been told. I’m reflecting on conversations about Black Americans having their history not being represented in our world.”

In fact, according to author Isabel Wilkerson, The Great Migration—a period from roughly 1910 to 1970 when six million African Americans mass relocated from the Jim Crow South to the North—was “the greatest and biggest underreported story in the 20th century.”

^{Always & Forever (forever, ever) No.14 - Photo by Daniel Krieger, courtesy of C24 Gallery}

As the descendant of parents who migrated and met in Chicago (mother from southern Mississippi and father from Memphis, Tennessee), Rubin unveils their neglected history and memorializes her family and Black families alike in an archival collection.

^{Always & Forever (forever, ever), Drift No.2 - Photo by Daniel Krieger, courtesy of C24 Gallery}

^{Always & Forever (forever, ever), No.24 - Photo by Daniel Krieger, courtesy of C24 Gallery}

A clan of three ceramic hoods with pigmented Delphinium and Vivid Blue skin and scars of Radiant Red stand on a floating shelf by the entrance. The central figure, with a leveled head resembling a motherboard, represents a map of Chicago. Similar patterns of cities and migratory paths are also present on other masks in her Always & Forever (forever, ever) series.

On the right of the No.17 tribe, a funnel-shaped form with sgraffito rain strokes, dots, and beaded relief creates a sensational feast for the visual cortex. Although the mask isn’t directly portraying routes, the dynamic movement metaphorically alludes to migration as the pulsating red synchronizes and dances with the blue.

The particularly pointy, slanted hood has a more regal personality. Embellished with an obscured badge, a symbol originating from the Medieval Period, the hood contemplates power, principally within the context of law enforcement. Laced with Medieval and magical influences, the masks may appear solely, or most familiarly, to reference the Ku Klux Klan, but they also attribute to Knight and Shaman helmets, dunce caps, and wizards.

Rubin builds sizable, totemic red stoneware forms as seen in her Unknown Ritual Mask series and practices slip-casting smaller everyday objects—cones, funnels, food containers, and vintage lighting—reconfiguring them into non-functional headdresses. After making a mold, she speedily scratches, carves, punctures, and pipes beading onto the surface as they quickly dry.

“I think of all the mark-making that is repetitious as black bodies moving through space and time, so I’m physically marking that onto the surface of the ceramic forms. […] I’m interested in how to suffuse the form with another point of visual communication through the surface itself.”

Rubin then paints the pigmented porcelains, with sumptuous lines, shapes, and stencils. Some cones resemble Abstract Expressionist and contemporary paintings, others African beadwork, Aboriginal mark-making, and ornamental designs.

The exhibition is filled with a profusion of symbols. The plotter ink drawings portray hagiographical portraits of her grandmother, mother, and aunts all adorned with turnip, mustard, and collard green halos—food staples prominent in Rubin's upbringing. Masonite fans, framing the ceramic cones, are symbolic references to the prayer fans that were predominantly present in black churches and funeral homes to keep the congregation cool. Marked with text, figures, floral, dotted, and migratory patterns, the iconographical fans provide a window into the past and become profound relics that take on resonance and emanate the power of faith.

Rubin’s cerebral and complex perspectives are captured in Points of Origin, a transcendental exhibition visually and conceptually mapping and highlighting one of the most significant and overlooked demographic shifting events that will forever change the structure, history, and future of the United States of America. She emphasizes, “Black history is not separate from American history. These are Americans.” The diverse array of works converges into a singular point of origin, commemorating and celebrating the contributions and stories of Rubin and Black families who’ve built the foundation of the country.

“There is no American culture without black American culture. You can't say, well, they did it. We did it. We did it together.”

- Jacob Lawrence

Visit C24 Gallery at 560 W 24th Street New York, NY 10011, or explore and learn more about the exhibition "Points of Origin" and Tammie Rubin's works online at C24 GALLERY

Apply to the Summer 2024 Residency at Watershed Center for the Ceramic Arts

Watershed’s summer residency sessions offer artists uninterrupted time to focus on their practices in our state-of-the-art ceramics studio. During a session, up to sixteen artists form a creative community while living and working on campus. Participants enjoy 24-hour studio access, comfortable accommodations, and delicious meals.

DEADLINE FOR THE SUMMER 2024 RESIDENCY IS FEBRUARY 1, 2024.

^{photo courtesy: Watershed Center for Ceramic Art}

Enclosed by lush, densely rich Maine forests and the Sheepscot River lining the serene campus, the Watershed Center for the Ceramic Arts offers an idyllic escape from everyday busyness—an ideal haven for artists to focus on creating works and cultivating a stronger, more intimate creative relationship with themselves and others.

In Henry Miller’s Big Sur and the Oranges of Hieronymus Bosch, the author elaborates on the significance of quietude and departure from "the senseless grind which daily threatens to annihilate all incentive." Miller contends that 'the immature artist seldom thrives in idyllic surroundings," emphasizing that it's the "mature artist who feels the need to break with the clique surrounding [them]."

In this vein, Watershed epitomizes the ideal landscape for an artist to mature: The rural land by the coastline transports you into a tranquil realm sans distractions, and the campus is infused with an infectious energy of wild and imaginative exploration. Offering ample studio space, state-of-the-art facilities, networking opportunities, and non-hierarchical communal support, the residency forces artists—whether born in the early aughts or the previous century—to confront their creative selves, overcome blocks and boundaries, and contemplate their artistic intentions.

“It [has] been two weeks that passed like two hours. Pure bliss, a constant smile, and green views that seep deep into my bones. I am truly grateful for this gift I received. I feel like this time apart from my studio, from my family and friends, and my country […] gave me the opportunity to focus all my energy and my creativity only on clay!”

- Shay Gerassy, 2023 Resident

^{Watershed is ideally situated close to many of the attractions that make Maine “Vacationland”.}

^{The campus has many wooded walking trails filled with ceramic sculptures left by past Watershed artists, creating an ever-changing sculpture trail.}

^{Watershed's new Windgate studio has 7,500 square feet of space with abundant windows for beautiful views and natural light.}

Watershed’s studio has recently undergone incredible renovations. The decrepit barn that once acted as the studio space has transformed into a modern and sophisticated 7,500-square-foot building. The Windgate Studio—lit by overhead LED and natural sunlight seeping through the rows of windows—is equipped with electric and kick wheels, a variety of standard ceramic equipment (e.g., slab-rollers, mixers, pug mill, wheels, extruder, and dry box); a large glaze room with ventilated workspace; a floor-to-ceiling spray booth; a dedicated plaster room; and a clay mixing space, galley kitchenette, and a seating area—the ceramicist’s dream studio.

The campus also offers firing facilities, including a wide range of electric, gas, and wood kilns, and a wood and metal shop available for use (permission required in advance). Residents enjoy 24-hour studio access, accommodating the artists’ creative flow and promoting art-making at any time of the day.

^{Residents select from a large inventory of dry materials in the well-ventilated glaze room.}

^{It houses two wood kilns, two gas kilns, a soda kiln and multiple electric kilns.}

^{Many sessions involve group firings organized by session participants.}

"I had never been with so many other ceramicists all at once! It was such a special experience to all have that in common. I loved that there was such an age range and we were all at different points in our ceramic careers/journeys. There wasn't ever any judgment of where we were at in our creative process or what we spent our time doing at the residency."

- Adriana Lemus, 2023 Resident

2024 SUMMER RESIDENCY: SESSION THEMES

Watershed’s unique self-directed residency program is divided into six two-week sessions, which are centered around a specific theme, directed by an organizer, and anchored by established artists. The sessions are designed to stimulate intellectual discussions and provide a safe space for artists to explore ideas, techniques, and processes, and build long-lasting friendships with participating residents. For more details about the sessions, click here.

Tasha Lewis, organizer of Session 2: Digital Clay, expresses her excitement about the opportunity to share research and learn from other artists. She describes the unique structure of the residency as the optimal space for exploration:

"[It] is so much deeper and messier than a conference presentation or Instagram story, and my hope for this particular residency is that every participant will have the opportunity to act as both a teacher and a student and benefit from the in-person co-mingling of our individual studio practices.

Also, I think even in the world of computer-aided ceramic design, there can be specializations that may not overlap. For example, some of the artists I am bringing together are experts in 3D printed clay and others in slip-casting digitally fabricated originals; collaborating across those areas of expertise is what most excites me about this opportunity."

Trisha Kyner, the organizer of Session 4: Beautiful Community and resident alumni of Watershed, shares a similar sentiment to Lewis. She prioritizes sharing and communal support while navigating new models of mentorship, honoring history and memory with the common thread of accessibility, social practice, and community building:

"We want to take this time to make work, acknowledging that those of us who are artist/teachers or artist/community workers need time to focus on work and bounce ideas off others in the field. We are a multi-generational group that includes immigrants, indigenous, Black American, and first generation college voices. Throughout the session we will discuss the themes that animate our art and inspire our teaching. A common thread in many of our practices is polyvocality: the desire to communicate more than one thing, including multiple aspects of being and responsibility."

"The highlight of my experience was 100% the people. We had an incredible group of artists that really bonded quite quickly. I also got to tackle some ideas that have been filtering around in my brain that would have taken a bit of time to get to in my own studio practice."

- Katie Coughlin, 2023 Resident

Watershed is renowned not only for its state-of-the-art facilities and intellectually invigorating sessions but also for its meals, all meticulously prepared by the Watershed kitchen and sourced from local organic farms. Healthy, seasonal, and delicious meals are impeccably cooked and served to residents three times a day from Monday through Friday. On Saturdays, the kitchen is closed, and on Sundays, residents enjoy brunch and dinner.

For those with dietary restrictions, the Watershed kitchen can prepare vegetarian and gluten-free meals with advance notice.

^{Artists occassionally organize outdoor banquets}

^{Exchange handmade tableware after the meal}

Various scholarships are available to subsidize Watershed’s residency fees (including room and board charges). All applicants are eligible to apply for the Kiln God Awards, and full scholarships are specifically available for artists of color, international and multi-cultural artists, underrepresented populations in the ceramic field, artists whose work addresses political, social, cultural, or environmental issues, and emerging artists. Watershed also provides a work exchange opportunity. Click here for more information about residency fees and scholarships.

Judith Schwartz, the President of MoCA/NY, past President of Watershed, and the honoree of the 2021 Watershed Legend Award, made it her mission to provide scholarships at Watershed: one award that supports artists whose work is unconventional and another to support diversity and international exchange.

"I am proud to be associated with this special environment where creativity, experimentation, and love for clay abounds and is collectively shared."

- Judith S. Schwartz

^{2023 Summer Residents in the Windgate Studio}

Watershed Center for the Ceramic Arts
103 Cochran Road, Edgecomb, ME 04556   

For more information about Watershed's 2024 Summer Residency, click here.

See Watershed Center for the Ceramic Arts and other ceramic destinations in Maine on our Ceramic World Destinations Map!

Exploring Identity and Cultural Dichotomies with Brendan Lee Satish Tang at C24 Gallery

C24 Gallery - Chelsea, NYC 560 W 24th Street 
New York, NY 10011

On a suspiciously quiet Thursday evening near the Chelsea piers, the streets are bathed in fading sunlight, the day prematurely surrendering to dusk. The crowd of gallery goers looking for visual stimulation, networking prospects, or free drinks has yet to proliferate, and amidst this quietude stands C24 Gallery, a beacon with its luminous lights casting an alluring glow through the window and onto the sidewalk. A veritable unopened treasure chest awaiting discovery.

The gallery is a reliquarium, a sacred box showcasing Ming Dynasty vessels that have been penetrated by and entwined with anime-inspired robots and gilded ormolu.

Adorning the walls and encircling these mutated cyborg vessels, are expansive, bulletproof stretched kevlar sculptural paintings, stained by steel rust and varnished with a luminous patina.

Albeit stylistically distinct—abstract vs. representational and muted color palette vs. an explosion of hues—the contrasting aesthetics of Brendan Lee Satish Tang and Coby Kennedy’s works meld beautifully in the space. Non-competing and complimenting, the industrial features and the matte and glossy surfaces of both artists’ work harmonize to present Cultured, a duo show on view until December 23rd.

^{_{installation view of "Cultured" - photo courtesy: C24 Gallery}}

C24 Gallery describes Cultured as “refined, cultivated, nurtured, artificially grown, or synthesized.” When asked about the exhibition’s title in connection to the works on display, David Terry, the director and curator of the gallery, explains how the artists’ underlying processes align and how the concept and content behind them are parallel:

“The two artists are deep within their analysis of their own culture, personally and within a historical context with Brendan being inspired by the Ming Dynasty and Coby exploring the African-American diaspora.”

With their post-colonial explorations of race, identity, and heritage, Cultured showcases the multiplex manifestations and individualistic interpretations of socio-cultural issues experienced collectively.

Manga Ormolu

For over two decades, Brendan Lee Satish Tang (he/they) has been working on their series entitled Manga Ormolu—a fusion of distinctly Asian aesthetics accented with European filigree.

A cobalt blue landscape, dragons, fish, florals, and warriors are painted with precision on the ‘porcelain’ facades—imagery referencing the style of vessels from the 18th-century Ming Dynasty, a prosperous period of economic and cultural expansion in China.

Agglutinated and burgeoning onto the melting Chinese relics are Japanese robotic features that have spored and taken control over the vessels—a sci-fi parasite. The glossy cyborg mutants are inspired by Tang’s longstanding love of Mecha: “a genre of Japanese manga and anime that heavily features or focuses on mechanical innovation. Robots, cyborgs, androids, and space stations, for example, all fall under the wide umbrella of mecha; however, robots are usually the primary focus” (NYPL).

Tang’s infatuation with science fiction and utopia began as a child, which coincides with when mecha grew to peak popularity in the West. They were engrossed in playing video games, reading manga, and watching shows like Transformers, Astro Boy, and Star Trek.

_{^{Manga Ormolu 5.0-aa, 2023, Ceramic and mixed media, 23 x 12 x 13 in. (58.4 x 30.5 x 33 cm) - photo courtesy: C24 Gallery}}

Unsurprisingly, those formal and conceptual themes became parents to their visual language and permeated into their practice—bringing the fictional robots into the physical realm.

Although the Chinese vessels and Japanese cyborgs come from the same continent, that is their only shared variable. The traditional vessels are monochrome, soft, fleshy, and matte, with a crackled glaze, and delicate brushstrokes with value. Meanwhile, the futuristic, graphic robotic parts are hard and manufactured, glossy, and engineered.

The contrasting evocations of the past colliding with the future evoke nostalgia and hope—or detachment and fear—depending on the person and how they view the flourishing omnipresence of technology.

Concerning the geopolitical relationship between Japan and China, Tang explains how this wasn’t initially a forefront concern, however, they became aware of the contentious history between the two nations when they had an exhibition in Richmond, Vancouver.

“It was really interesting to have that experience because there were a lot of people from mainland China that live in Richmond and when they came to the show, they saw [the Manga Ormolu pieces] as an affront and it was like almost an insult onto the historical vessels and that sort of thing. As, you know, we always think of a colonial agenda within a Western context, but it was a colonial agenda within a Japanese context as well. And so there was a weird form of telephone game where it's like I'm unpacking my 'Asianess' through the West unpacking 'Asianess'.”

As a Chinese, South Asian Canadian who was born in Dublin, Ireland, Brendan has always lived within a Western landscape and felt disconnected from their heritage as they assimilated, negotiated, and suppressed their “Asianess” to steer Western spaces. When they discovered the ormolu—the 18th-century French and German aristocratic practice of embellishing pre-existing, often foreign or “exotic” objects—they saw themselves reflected in the gilded Chinese porcelain.

^{_{Manga Ormolu 4.0-bb, 2023, Ceramic and mixed media, 23 x 10 x 11 in. (58.4 x 25.4 x 27.9 cm) - photo courtesy: C24 Gallery}}

^{_{Manga Ormolu 2.0-t, 2023, Ceramic and mixed media, 20 x 14 x 13in. (50.8 x 35.6 x 33cm) - photo courtesy: C24 Gallery}}

“I was excited by what I was seeing kind of in a way of seeing myself in the work where I am very much an Asian identity but I have all this Western filigree all over me. I am the Ming Vessel with the gold filigree and the strange architecture and stuff like that. But then I started seeing things where they started making these elaborate pieces with Buddha and put all these things that have no business being together. I felt a bit revolted, but also equally fascinated.”

Unearthing these appropriated, fetishized, and Westernized Asian relics became the genesis of their Manga Ormolu series and an outlet to explore their identity. Akin to Asian fusion restaurants, where spices and ingredients are modified to become more accessible and digestible, the cyborg vessels appear Asian whilst garnished with European flavors to suit the Western taste.

These sculptures are a self-portrait of Brendan, they humorously scrutinize and satirize the Western lens and cultural appropriation, whilst simultaneously confronting their self-inflicted discrimination. No longer, are they molding and denigrating themselves to accommodate and please others, however, their people-pleasing tendencies have sublimated and materialized in their craftsmanship.

^{_{work in progress of Manga Ormolu 4.0-bb, 2023 - photo courtesy: Brendan Lee Satish Tang}}

“I am a chronic pleaser,” they state whilst chuckling, “I go to ridiculous lengths to make [my work] seem so seamless.”

Tang is unquestionably skilled and perfectionistic, with a meticulously torturous yet satisfying process. It begins with sketching, measuring, and drafting the sculpture’s foundation. Subsequently, they throw a vase, base, and ‘shot glasses’ (trimmed and attached to the sides of the form) on the wheel, then proceed to build the composition by extruding, slab building, hand-building, manipulating, pinching, and sanding. Tang then fastidiously hand-paints traditional Chinese imagery and dresses the piece by airbrushing, glazing, and applying gold luster treatments.

The laboriously constructed sculptures and impeccably glazed surfaces imitate porcelain and metal, despite being made from low-fire earthenware. As an exercise in trompe-l’œil, Tang teases the viewer into thinking the piece is constructed from separate parts using varying materials. They further confuse the viewer by grounding the form on a wooden plinth and adding rubber gaskets, screws, and bolts—some of which are real and others ceramic.

_{^{Manga Ormolu 2.0-s, work in progress - photo courtesy: Brendan Lee Satish Tang}}

_{^{Manga Ormolu 2.0-s, 2022, Ceramic and mixed media, 40 x 19 x 15 in. (101.6 x 48.3 x 38.1 cm) - photo courtesy: C24 Gallery}}

The result is an intriguing, animated mutation that illustrates Tang's expert understanding and decades-long experience in playing with trompe-l’œil and the interrelationship between reality and fantasy.

Traditional and futuristic, Western and Asian, industrial and fine art, and imperial elitism and commercialism—Tang gifts us with sculptures filled with juxtapositions, complexities, and perplexities. The cyborg vessels invite you to question your heritage (within your ethnic and cultural tribes), your identity (within society), and your existence (in the Digital Age).

_{^{Study 8, 2018, Ceramic and mixed media, 6 x 11 x 5.5 in. (15.2 x 27.9 x 14 cm) - photo courtesy: C24 Gallery}}

Visit C24 Gallery at 560 W 24th Street  New York, NY 10011, or explore and learn more about the exhibition "Cultured" and Brendan Lee Satish Tang's works online at C24 GALLERY

Watch C24 Gallery's artist talk  for their exhibition in 2021 entitled "Earthen Delights" with artists Brendan Lee Satish, Hinrich Kröger, and Steven Montgomery - moderated by MoCA/NY PResident Judith Schwartz.

A Beloved Collection - Kathy Butterly at James Cohan Gallery

James Cohan Gallery - Tribeca, NYC 
48 WALKER ST
NEW YORK, NY 10013

For over three decades, New York-based ceramic artist Kathy Butterly has ventured into the realms of color, form, and the intricacies of ceramics. Her relentless dedication and mastery of clay have solidified her position as a prominent and revered figure in contemporary ceramics. Butterly's remarkable body of work comprises small-scale sculptures characterized by meticulous and whimsical details, evocative colors and compositions, and unparalleled technical expertise.

Recently, Butterly showcased her tenacious commitment to ceramics in an enthralling mini-retrospective titled A Beloved Collection presented by the James Cohan Gallery. Concurrently with the exhibition at their Tribeca location, the gallery also exhibited Butterly’s latest sculptures at the ADAA: The Art Show. Although the exhibitions have concluded, selected works remain available for purchase. View MoCA/NY's President, Judy Schwartz on-site video interview with Kathy Butterly, Elizabeth Harvey Levine, and collector David Kirschenbaum.

A BELOVED COLLECTION, 1994-2022

Works from the private collection of Elizabeth Harvey Levine

Upon entering the viewing room at James Cohan Gallery, visitors are immediately enveloped by a vibrant ensemble of sculptures spanning from 1994 to 2022, offering a comprehensive voyage through the evolution of Kathy Butterly's artistic vision. The thirty-six petite sculptures arranged chronologically, are sourced from the private collection of Elizabeth Harvey Levine, an ardent and longtime patron of Butterly’s work.

The space unfolds with delicately adorned and opulently ornate sculptures positioned on the left side of the gallery—the genesis—and crescendos to Butterly's most recent lively and gestural creations. Despite their demure scale—excluding two exceptions—each sculpture exudes a grand energy, brimming with vitality, distinct personalities, and animated expressions.

“It is a beloved collection because each piece in this magical collection is such a magical gem. They’re infused with her sense of humor, they all have sensuous body folds, they’re meticulously executed, and the details are beyond what people are willing to explore in ceramics.” - Elizabeth Harvey Levine

Humor imbues the exhibition not only in the cheeky and amusing configurations of the sculptures but also in their titles, setting a tone and offering a glimpse into Butterly's intentions and interpretations. For instance, a lemon-yellow glazed figure adorned with oval green forms on its lip and hip emanates refined elegance with polished gold accents, yet it comically bears the title "Nancy Beans," adding a playful twist.

Associating these titles with the sculptures is almost as enjoyable as experiencing the pieces themselves, inviting speculation, contemplation, and insight into Butterly’s mind.

This collection, akin to a personal diary, exemplifies Butterly's artistic innovations in composition, color palette, and treatment of glaze while documenting significant and pivotal periods in both her personal and creative life.

Pointing to a piece named "Knititation," Butterly reminisces, “I was pregnant. [I remember] just the waiting and the knitting." She elaborates further on the show, "It’s my diary, my diary is on display. I knew exactly what I was thinking and what I was doing and each one is very specific to a time period of my life.”

"Knititation" beautifully encapsulates Butterly's earlier works—the lyrical pastel and shocking neon color palette, skin-like folds, intricate line marks, and fine carvings, complemented by a whimsical and playful "pedestal." It vividly showcases her technique of painting with and on clay.

Her painterly treatment of clay can be attributed to her early studies as a painter when she was drawn to ceramics but was reluctant to fully accept the medium as she viewed ceramics as functional pottery ware. It wasn’t until she met Viola Frey, an artist known for her non-functional, figurative, animated ceramic sculptures and painterly expressions, that she embraced ceramics.

Intuitively created, Butterly starts with a ready-made cast, molding it into a functional vessel before sculpting, folding, denting, and smoothing the clay. Subsequently, she applies glazes and subjects the disfigured vessel to multiple firings, often reaching up to 20 to 30 times. The layers of clay and glazes illustrate Butterly’s devotion and profound connection with each piece imbuing them with a unique history and seducing you into a portal awaiting exploration.

Tiny pearlescent beadings, crackling and crystalline glaze textures, sharp and fluid surfaces—the porcelain and earthenware amorphous sculptures gift us with a splendid visual orgasm. They not only serve as pages from Butterly's diary but also as testaments to her exceptional technical skill and artistic aspirations.

With their diminutive scale, the sculptures beckon viewers to draw closer, inviting a magnified appreciation of every minute and intricately carved detail, cultivating an intimate relationship with each piece. They entice, hypnotize, surprise, and inspire a desire to explore and decode their narratives and language—a journey into their portal, into their distinctive universe.

“[Butterly’s sculptures] are irresistible,” Elizabeth Harvey Levine states, “and Kathy, herself, is the most genuine person I know and her pieces are straightforward and honest, complex, fused with humor and that is what Kathy is. They are just an embodiment of her.”

Visit James Cohan Gallery at 48 WALKER ST NEW YORK, NY 10013, or explore and learn more about A Beloved Collection and Kathy Butterly online: James Cohan Gallery

Organic Reflection: Steen Ipsen at HB381 Gallery

HB381 Gallery - Tribeca, NYC 
381 Broadway, New York, NY 10013

Lighting up the corner of Broadway and White Street sits HB381, Hostler Burrow’s contemporary art gallery in Tribeca, exhibiting recent works of Copenhagen-based ceramic artist Steen Ipsen. Ipsen's immaculately crafted, vibrant, and dynamic biomorphic sculptures draw the attention of passersby, captivating onlookers through the gallery's glass windows.

 Entitled Organic Reflection, the exhibition, running until December 22, 2023, marks Ipsen’s debut solo exhibition in the United States, albeit not his first collaboration with the gallery.

In 2021, Hostler Burrows collaborated with Copenhagen Ceramics—an exhibition platform showcasing contemporary Danish ceramics. Ipsen, along with co-founders of Copenhagen Ceramics Martin Bodilsen Kaldahl and Bente Skjoettgaard, co-curated and participated in Bend, Bubble and Shine: Copenhagen Ceramics, showcasing nine contemporary Danish artists. Subsequently, Hostler Burrows began representing Ipsen and Kaldahl, both of whom held solo exhibitions at the gallery this year.

Organic Reflection

On one side of the gallery, nine pieces from Ipsen’s Ellipses and Tied Up series are presented equidistantly on plinths. Upon first viewing, the earthenware, monochromatically glazed pieces exhibit a shared polished and bulbous sensibility, eliciting admiration for their expert craftsmanship and vibrant colors. However, a closer examination reveals the individuality of each sculpture. The blobjects (a word that defines curvilinear flowing shapes - a portmanteau of “blob” and “object” - as described in Garth Johnson’s catalog essay) adorned with PVC or leather strands, offer distinctive characteristics and expressions–provoking an idiosyncratic experience.

^{Organic Reflection - photo courtesy: HB381 Gallery}

For instance, Ellipse 8 and Ellipse 13 resemble a croquembouche, enticing and delectable, while Ellipse 12 and Ellipse 15 evoke the appearance of konpeito candies. In contrast, Ellipse 9, Ellipse 11, and Tied Up 3 exude a biological, cellular essence. Despite the association with smooth, glazed surfaces that evoke confectionery, Ipsen draws inspiration from growth principles like crystallization and cell division. Notably, Ipsen’s titles–Ellipse, Balls, Bubbles, and Tied Up, emphasize the physical form over the conceptual context, demanding subjective interpretations while highlighting the significance of design.

^{Ellipse 8 - Glazed earthenware, PVC, photo courtesy: HB381 Gallery}

^{Ellipse 13 - Glazed earthenware, PVC, photo courtesy:} ^{HB381 Gallery}

^{Ellipse 12 - Glazed earthenware, PVC, photo courtesy: HB381 Gallery}

^{Ellipse 15 - Glazed earthenware, PVC, photo courtesy: HB381 Gallery}

^{Ellipse 11 - Glazed earthenware, PVC, photo courtesy: HB381 Gallery}

^{Tied Up 3 - Glazed earthenware, leather , photo courtesy: HB381 Gallery}

Steen Ipsen has devoted decades to studying and mastering ceramics, exploring myriad shapes and compositions, leading to recognition by the Danish Arts Foundation as "one of the most gifted ceramic artists in Denmark."

His expertise shines through in meticulously crafted forms devoid of flaws or imperfections. Ipsen casts and sculpts ellipses, balls, and spikes from earthenware clay, refining their surfaces through sanding and polishing. He then applies layers and layers of glaze–pouring, spraying, and painting until perfection is achieved.

Contrary to the appearance of the sculptures being held together by the PVC or leather threads, the clay spheres are sliced to the most accurate angle to join seamlessly together. The addition of PVC comes last as he ties the strands, creating an abstract, spatial net resulting in a vibrato of tension, stability, complexity, and simplicity.

^{Steen Ipsen in studio - photo courtesy: HB381 Gallery}

Juxtaposing and situated across the Ellipses and Tied Up sculptures are six works from Ipsen’s Black Organic Movement series. The animated forms, liquid in demeanor, defy gravity with their undulating, concaving curves—suspenseful and seductive. The stark purity of the glazed surface mirrors the surrounding environment and forces the viewer into a psychological confrontation as they discern reflections of themselves. The inkblot-like sculptures are akin to a Rorschach test.

^{Black Organic Movement at HB381 Gallery}

Intuitively sculpted, Ipsen coils from one side of the piece to the other, a divergent approach from his other series which are precisely methodological. Still, Ipsen’s unwavering commitment to flawless surfaces, reflective glazes, and masterful design is a consistent throughline in his impressive oeuvre.

^{Black Organic Movement 4, 2023, glazed earthenware, photo courtesy: HB381 Gallery}

^{Black Organic Movement 3, 2023, glazed earthenware, photo courtesy: HB381 Gallery}

Organic Reflection encapsulates both the physical and psychological essence of reflection. The glazed, reflective blobjects serve as a distorted yet captivating mirror, inviting viewers to delve into a hypnotic and visually opulent world. Each piece not only mirrors its physical environment but also prompts a reflective introspective experience.

The exhibition stands as a testament to Ipsen's artistic odyssey. The Ellipses and Organic Movements series signifies a notable evolutionary shift from his earlier geometric explorations in clay (Moduls (1996) and Spikes (2005)). These newer series represent the pinnacle and embodiment of Ipsen’s decades-long commitment to mastering the art of ceramics and design, showcasing his enduring dedication and growth throughout his career.

^{Steen Ipsen in his studio - photo courtesy: HB381 Gallery}

Visit HB381 Gallery at 381 Broadway, New York, NY 10013, or explore and learn more about Organic Reflection online: hb381gallery.com

Ceramic Highlights at ADAA - The Art Show 2023

The 35th Annual Edition of the ADAA (Art Dealers Association of America) - The Art Show 2023 was held at the Park Avenue Armory, featuring 78 booths in the grand Gothic building. MoCA/NY sent a reporter to this year's fair to highlight ceramic artwork and we're pleased to present a list of seven galleries representing notable and established ceramic artists.

1. David Kordansky Gallery

Betty Woodman (1930 - 2018)

Betty Woodman's mixed media works are on full display at David Kordansky Gallery's booth. Woodman's colorful and playful deconstructed reconstructions showcase her brilliance and expertise in collaging clay, drawings, and paintings. Woodman's inventive forms and pioneering experimentations remind viewers why she was, and still is, considered a leading figure in the ceramic field.

2. James Cohan Gallery

Kathy Butterly

Another remarkable ceramist who uses vibrant colors and painterly expressions is Kathy Butterly whose intricate, ornamental, petite sculptures were on display at the James Cohan Gallery booth. In addition to being featured at The Art Show, Butterly is currently exhibiting at the James Cohan Gallery (Nov 1-11, 2023). Make sure to visit the gallery at 48 Walker Street to see the incredible show spotlighting Butterly's work spanning from 1994 to 2022.

3. Yoshii Gallery

Taizo Kuroda

Yoshii Gallery presents White Porcelain, an installation with works by one of the most important artists in Japanese contemporary ceramics: Taizo Kuroda. The minimalistic and elegant forms "evoke an infinite world beyond the realm of earthly limitations" and illustrate Kuroda's mastery in expressing strength and simplicity.

4. Sperone Westwater Gallery

Bertozzi & Casoni

The Italian team Bertozzi & Casoni, shows new hyperrealistic ceramic sculptures at the Sperone Westwater Gallery booth. Brillo boxes full of trash, decaying eggs, watermelon rinds, and banana peels on plates and in bins contemplate modern-day consumption and waste - a criticism of contemporary consumerism.

5. P·P·O·W Gallery

Ann Agee

P·P·O·W Gallery presented an incredible solo installation of fifteen ceramic figures and two ceramic wall pieces by Ann Agee. Agee's powerful Madonnas of the Girl Child series, subverts the canonical symbol by portraying the child as a female, scrutinizing the propagandistic use of the Madonna and Child motif. She masterfully uses a variety of techniques - incorporating pigment into slabs of stoneware clay, screen printing, spraying, stenciling glazes, and directly painting on the surfaces).

6. Marian Goodman Gallery

Tavares Strachan

Tavares Strachan's new body of ceramic sculptures and paintings from his Galaxy and Galaxy Mandala series were exhibited at the Marian Goodman Gallery booth. Strachan's ceramic vessels with a human head atop illuminate overlooked histories and address themes of identity and belonging.

7. Thomas Colville -Fine Art Gallery

Elie Nadelman

Elie Nadelman's small figurines were present at the Thomas Colville Gallery booth. Although two of the three sculptures by Nadelman are made of polychromed papier-mache, Two Women (the figures on the left of the image) is made of polychrome terracotta.

To explore more New York-based and international galleries representing ceramic artists, visit our CERAMIC WORLD DESTINATIONS MAP!

Don't forget to check out our past coverage of ceramic highlights at the Armory Show 2023: Ceramic Sightings at the Armory.

Portals to Mouros - Tracing Identity with Isaac Scott at Lucy Lacoste Gallery

Isaac Scott’s political mixed-media sculptures are on display at the Lucy Lacoste Gallery in Concord, Massachusetts from September 16 to October 14, 2023. Scott is a Philadelphia-based artist, curator, and photographer, whose provocative ceramics explore the lineage of the Slave Trade, the history of social, cultural, and racial exploitation, and how contemporary people and land carry the wounds of past generations' traumas.

In 2020, during the global pandemic, Scott, working primarily with clay, lost access to his studio and sublimated his artistic energy to taking photographs of his neighborhood in North Philly and the protests and marches on the streets following the death of George Floyd by the Minneapolis police.

In 2022, Scott traveled throughout Portugal during an artist residency where he (re)discovered that Lisbon, Portugal’s capital, was the city where the Slave Trade originated. Mouros, the title of his first solo exhibition, responds to his research and reflections on the Slave Trade—manifesting into six powerful stoneware and inkjet-printed Dibond pieces.

“Every now and then one comes across a new artist whose work excites and is worthy of the highest accolades. Realizing the content and the art in this completely new series, I knew I had to do everything possible to bring it to light in the fullest possible way.” - Lucy Lacoste

ILSY JEON (IJ): The inspiration behind your exhibition, Mouros, is rooted in your discovery and research on the Slave Trade and its origins in Lisbon, Portugal dating back to 1455. Can you describe the pivotal moment when you became aware of this history? Also, can you explain why you titled this show Mouros?

ISAAC SCOTT: When I arrived in Lisbon I was drawn to the older parts of the city. I immediately wanted to know more about the city's history. I learned about the African Lisbon Tour through my friends’ parents. The tour is organized and led by Naky Gaglo. That’s where I first learned about and experienced some of the places that I referenced in the exhibition.

The show title “Mouros”, translates to Moors in English. The title comes from a few different references. The first was the Moors who occupied the Iberian Peninsula from 711 to ~1249. Next, the people taken from the coast of West Africa who were called “Mouros” by the Portuguese. Lastly, the ancient myth of the Mouros from northern Iberia. This myth sometimes describes Mouros as Giant beings who collected treasures and lived underground.

I see my Mouros series as beings who dwell in different places that I visited on my travels through the country and they collect the stories of Africans who came through those locations throughout history.

IJ: The tragic death of George Floyd by the Minneapolis police, which you comprehensively documented, occurred just two years before your awareness of the Slave Trade in Portugal.

Considering the racial tensions in the US, how did it feel to conduct research in a foreign country and recognize that racism is pervasive in all lands? How has your research evolved to highlight your understanding and relationship to your ancestry, identity, and art practice?

ISAAC SCOTT: I’ve known for a long time that racism is pervasive throughout the world. We have seen Western colonization and the damage it has done throughout history. I think I had learned at some point that Portugal was the country to start the slave trade but it was never something that I thought much about until I was actually there.

One thing that stuck with me during my trip to Portugal, was how comfortable I felt. Here in the US, I feel like my identity, my race is something that is always looming over me. I never felt that way in Portugal. But when I talked to Afro-Portuguese about this, they explained to me how they face many of the same problems around race that we face in the US. And that the reason I felt so comfortable and welcomed in Portugal was because people recognized I was a tourist and they wanted my money. This hadn’t occurred to me because I’m used to people following me around stores because they assume I will steal something.

This made me think more about power dynamics here in the US around race. We in the black community are constantly reminded how we are not valued or appreciated for our essential contributions to the founding, growth, and success of this country.

Through my research, I found how the catholic church played such a major role in the start of the slave trade. It made me think of the parallels between protestant Christians in the US and how they used scripture to justify their use and dehumanization of African slaves in a “free” country. I also thought of how in both Portugal and the US, Africans used the church to free themselves and fight for their rights as human beings.

There is a bitter irony to the fact that the Africans who had their freedom, religion, and culture stripped from them by Christians, behave more like Christ than the Christians themselves.

I think about my own relationship with spirituality a lot. I grew up in a very religious household and was even confirmed Catholic. I’m not religious anymore but I do still feel a longing for some kind of spiritual practice that makes sense to me.

IJ: Your sculptures evidence extensive research about the Slave Trade and the history of the Moors during the Middle Ages. The photos you’ve taken are sites in Portugal that symbolically refer to the history of this region and the ceramic portraits beautifully respond to these images. Can you elaborate on your experience walking around Lisbon, conducting research, documenting, and taking photographs? How did you come to the decision to select the six photographs that are on display in relation to these particular busts?

ISAAC SCOTT: I was immediately in awe of the city. The ornate architecture, tiled walls and streets, the massive monuments, and marble sculptures all made for great photos. At first, I wasn’t sure how I would use the photos. I always have my camera on me when I travel, so taking photos as part of a sculpture or installation wasn’t my first intent. As I came up with my ideas around the Mouros heads and the narrative behind them, I felt that I should use the images to give more context to these locations. I felt the images and stories I made the work around were the ones I felt the most connection to personally.

IJ: The ceramic heads depicting Black faces each have a distinct personality and characteristics that respond to their corresponding images. What was your approach and process for creating these ceramic portraits? Who are these people that you are paying homage to?

ISAAC SCOTT: I wanted to make portraits that fit the mood and energy of the stories connected to each piece. Some of them are more specific than others. The “Igreja de São Domingos“ piece has an expression of the figure singing. This comes from my connection of Black Spirituality to music as well as the hymns and chants that take place in a catholic mass. The expression of the “Mouro do Graffiti” speaks to the bravado and confidence in oneself that is celebrated in Hip Hop Culture.

I don’t see these sculptures as depicting anyone in particular.

IJ: Following up on the previous question: how has your research about the African diaspora and Hip-Hop culture influenced the formal and conceptual aspects and features of these ceramic forms?

ISAAC SCOTT: Something that I have focused on capturing in my work is the idea of resiliency. In both the Mouros series and past work around Philly, I have often used these motifs of decaying architecture paired with reference to monuments and vibrant colors.

I enjoy the duality in a form that is both broken yet exhibits strength and beauty.

In Hip Hop culture there is the idea of “making something from nothing” or creating value out of the scraps we find around us. I think the work I make is often a response to my own questions about having hope for the future. I see what many of my ancestors had to go through and how we got here. I think those stories give me hope for our generation to figure out the challenges in front of us.

_{Igreja de São Domingos, 2023 - Glazed Stoneware, 18.5h x 10.25w x 10.75d in, Archival Pigment Inkjet Print mounted on Dibond, 36 x 36 in}

_{Mouro do Graffiti, 2023 - Glazed Stoneware with Gold Luster, 17.75h x 9.25w x 9.75d in, Archival Pigment Inkjet Print mounted on Dibond, 36 x 36 in}

IJ: The way you’ve combined ceramic and photography is refreshing and avant-garde and is the perfect amalgamation of the two mediums you use to express your creativity. How did you come to the decision to integrate both mediums in this series and how did losing your studio during the pandemic act as an impetus to take up photography? Since returning to ceramics, after a few years of hiatus, how has your relationship with clay evolved?

ISAAC SCOTT: The photos in this series were important to add context to the heads I was making. They act as portals that bring the viewer to the exact place where these Mouros dwell. They also create halos around the heads, further pointing to the theme of Christian symbolism that runs through the show.

When I lost access to my studio during the pandemic I was taking a photography class so I ended up turning to photography as my source for creativity. It really got me out of the house and kept me sane during that time. Then when the BLM protests started I really got more serious about documenting what was happening around me.

Coming back to clay, I feel what happened in that summer of protests changed how I interact with the clay more than anything. The things I captured in the protests and the energy in those moments I began to express through the clay. Bringing both mediums together in different ways is exciting and gives me more options to bring my ideas to life.

IJ: The art world has shifted dramatically in the last few years where history is being re-evaluated and re-visited from a post-colonial lens. Despite ceramics being globally practiced by all genders and races for centuries, you’ve noted how in the US, the ceramic field is a White space that is inaccessible to Black, Brown, and low-income communities.

How have you been navigating the predominately White spaces of clay and what challenges have you experienced? Have you seen sufficient progress in the American ceramic field within the last few years? Are there new artists or movements that inspire you?

ISAAC SCOTT: There are so many layers to this issue. In some ways, I have seen a lot of recent progress when it comes to the visibility and resources allocated to Black and Brown ceramic artists in the US. This has come from the rush institutions to Black and Brown artists after the summer of 2020. I am skeptical of this trend holding up though.

I think real progress only comes when there is a higher diversity of voices on boards of major art/craft institutions but also, and more importantly, institutions that are built, run, and owned by a diversity of voices. I have been serving on the Collaboration and Engagement Committee of NCECA’s Board for a few years now and I have gotten a better picture of why change is so slow to take place.

I think the things that excite me the most about the future of ceramics are organizers like Yinka Orafidiya, Osa Atoe, Ife Williams, Mapó Kinnord, and organizations like Kaabo Clay and The Color Network. These organizers and organizations have done amazing work in creating communities, resources, and opportunities for Black and Brown artists and artists of color.

IJ: You state how artists of color are “continually faced with the question of why ‘WE’ do what we do. […] It seems we are left to explain why ‘WE’ create what we create.”

Can you elaborate on what you mean by “WE” and how White ceramic artists aren’t subject to the same questions, prejudices, and mis- and pre-conceptions that artists of color face?

ISAAC SCOTT: When I say “WE” I mean people of color in general. Many minorities who have different racial and cultural identities are aware of how our identities are mixed up in the lens through which people see our work.

As I mentioned before there has been a trend of searching for Black and Brown artists among major art and craft institutions around the country since the murder of George Floyd. I have seen people's lives completely change during that time. It wasn't the artist's work that changed. Just the cultural relevance of the artist's identity.

I believe that many institutions made certain changes or created programming around DEI initiatives out of self-preservation and not from a sincere connection to those issues. As an artist of color, I am very aware of how my work and the lens people see my work is attached to my identity as a Black man. So often, when dealing with juries, applications, critiques, and museums, my work is viewed through the white lens.

I often feel, as do many artists of color I know, that this brings an extra level of explanation, education, and misunderstanding around my work, which is directly tied to my identity. However, when I share my work with the black community or with people who have a similar lived experience the nature of the conversation or the critique around the work shifts dramatically.

_{Caravel, 2023 - Glazed Stoneware, 17h x 10w x 10.25d in, Archival Pigment Inkjet Print mounted on Dibond, 36 x 36 in}

_{Pombo (Pigeon), 2023 - Glazed Stoneware, 17.75h x 9w x 9.5d in, Archival Pigment Inkjet Print mount}

_{Castelo Dos Mouros, 2023 - Glazed Stoneware, 18.75h x 11w x 11.5d in, Archival Pigment Inkjet Print mounted on Dibond, 36 x 36 in}

To learn more about Mouros at Lucy Lacoste Gallery, CLICK HERE

To explore the works of Isaac Scott, CLICK HERE

Exploring the World Upside Down with Patti Warashina

Patti Warashina, a renowned and acclaimed satirical ceramicist based in Washington (US), speaks with Ilsy Jeon about her recent solo exhibition at the Traver Gallery titled The World Upside Down.

The exhibition, showcasing dozens of Warashina’s provocative sculptures is a delight to experience, as her ceramic figures seduce you with their playful charms and lock you into contemplating the turmoils pestering society. Warashina has a profound history of capturing the dichotomous nature of humor and doom (with a hefty spoonful of absurdity), and masterfully crafts physical manifestations of the characters and narratives prancing in her mind.

Wild Blue Yonder - courtesy of Traver Gallery

IJ: Congratulations on such an incredible exhibition! I enjoyed watching your walkthrough and listening to you elaborate on your work. You’ve been represented by the Traver Gallery since 2019 and this is your first major exhibition at the gallery. How did you prepare for this show and why did you decide to title it The World Upside Down?

PATTI WARASHINA: My ideas over the years, seem to be involved in what is happening around me. I think of my work as a “visual diary.” I read two newspapers every day and the news channels are constantly on while I work in my studio as it is difficult to watch movies, which demands focusing on the screen.

Three years ago, when the pandemic was in full swing, it seemed as though the world was in constant turmoil (ie. politics, covid, environment, war, homelessness, etc.). The title World Upside Down seemed appropriate to describe the work which represents all my concerns and reflections.

^{Democracy on the Run - work courtesy of Traver Gallery}

IJ: Your work reveals aspects of society that you consider significant to explore and scrutinize—what are the issues in the exhibition that you’re addressing and how do you wish the viewer to engage and respond to your pieces?

Societal, political, and environmental issues are expressed in my work. Because of the horrifying issues that society is facing, I try to present these problems in my art, by drawing the viewer to the work through visual color and stylized abstraction, using identifiable characters and objects that the viewer can relate to in their own world. After a second glance, the meaning of these objects and characters becomes more apparent to the viewer and is open to personal interpretation.

IJ: Your figures express anxiety, tension, desire for escape, and helplessness but all in a humorous and playful tone. As a satirist, how do you balance these juxtaposing feelings?

The way I convey these societal ills in my art helps to protect me psychologically from the issues and be able to address these horrifying conditions through the way that I portray them.

IJ: You reference the pandemic and the collective experience of madness and disorder we all endured. How has the pandemic affected your work?

The pandemic has greatly affected my art and is a big subject of much of it. The issues I portray are connected to the human condition and to our political division, war, environmental destruction, and women’s issues.

IJ:The treatment of your figures is stylized and sculpted in such an animated way that, albeit the forms are static, there’s movement and dynamism exuding from your work. You note how your figures represent the human consciousness, can you elaborate on this?

The stylized human figures represent "human consciousness” and are floating above the earth’s sphere, or hemispheres, that represent the “world” or planet on which we live. To me, these floating figures represent beings observing the conditions of society or what is happening on the earth below.

IJ: Over your 60 years of working with clay, how has your relationship with the medium evolved? Do you see a difference in how clay is expressed, created, and experienced today versus when you first started?

Like many of us who are clay artists, the tactile seduction of the material was the initial attraction to this versatile material. Its "chameleon-like" character can be made to look like almost any other building material (i.e. metal, wood, paper, vegetation, etc.)

Initially, I was also attracted to “conquering” wheel-thrown objects, and the curiosity of completing this clay form by the myriad, unique, and endless techniques from glazed surfaces, that the ‘fire” could perform. Clay also lends itself not only to the 3-dimensional form but also adds another dimension to 2-D surface compositions as well.

Yes, I have seen a dramatic shift in the versatility of the clay art medium since I first started, as our communication of the craft has exploded worldwide, and the transfer of ideas and talent is boundless.

IJ: You’re a long-time friend of Judith Schwartz, the President of MoCA/NY, and was even featured in her book Confrontational Ceramics where she included your piece “Oil Slick, from Drunken Power,” which depicts Bush and Cheney covered in oil spills—critiquing their interest in Middle Eastern oil. You’ve also portrayed controversial figures such as Trump and Putin. Has the rise of political polarization and sensitivity influenced how you approach depicting these political figures?

Sure, they are part of society's conflicts, and for me, thought-provoking subject matter. Perhaps because of the abstractions of the figurative elements, one might think of these pieces as 3-dimensional political cartoons.

^{Explosive Situation - work courtesy of Traver Gallery}

^{Double Trouble - work courtesy of Traver Gallery}

The political, national, and international polarization, as well as the horrific problems that encompass our earth and societies, is ugly and difficult to comprehend as well as visually unattractive to view. I tend to interpret the ugliness in a manner that captures the viewer by composition, modifying subject matter, and approaching the surface in a bold, graphic way. Once captured, the viewer will start to see the details of the subject that can be personally interpreted. Hopefully, this makes the subject matter approachable and visually digestible.

To explore and learn more about Patti Warashina's exhibition The World Upside Down at Traver Gallery, CLICK HERE

To watch Traver Gallery's walkthrough with Patti Warashina, CLICK HERE

To read Patti Warashina's Statement, CLICK HERE

Ceramic Guide - New York City

On our Ceramic World Destinations map, there are more than 200 ceramic-related destinations in New York and while we suggest key places to visit, check the gallery and museum websites to find the current exhibition schedule. Our tour takes you to diverse neighborhoods where we also suggest restaurants, theaters, and nightlife conveniently located to complete the New York experience.

ITINERARY

DAY 1

LOWER MANHATTAN - Tribeca, Chinatown & East Village

3PM: GALLERIES

Get on your walking shoes. Sidewalks in all neighborhoods are meant for people-watching, window shopping, sights and sounds, and street life, all adding up to the total NY experience. So drop your bags and head to downtown Manhattan.

Take the subway to Canal Street and you’ll see a string of galleries: Nicodim Gallery, George Adams Gallery, PPOW GALLERY, HB381 GALLERY, and Grimm Gallery. Galleries close at 6 PM, however, some have openings on Thursday, Friday, or Saturday nights (between 6-8 PM).

6 PM: Getting hungry?

You’ll find restaurants and lots of Chinese Food - after all, you are in Chinatown. Notable Chinese restaurants to try are Potluck Club, Golden Steamer, Jiang Nan, Spicy Village, Uncle Lou, and Super Taste.

Not craving Chinese? Walk over to Lafayette Street and have a candle-lit French dinner at Lafayette Grand Cafe & Bakery, Italian at Vic’s or Il Buco Alimentari & Vineria, or Mexican at ATLA (reservations for these restaurants recommended).

If you don’t want to splurge on dinner, pop by the newly renovated Essex Market which has a food court with great options. If you’re vegan, walk north and try Ladybird or Avant Garden for plant-based foods that even a carnivore would enjoy. Other notable vegan restaurants include Butcher’s Daughter for American Food, Cocoron for satiating Japanese ramen, Spicy Moon for Chinese, or Caravan of Dreams.

7:30 PM: Theater Experience

There are extraordinary opportunities to experience live performance at all price points so consider Broadway, off-Broadway, or off-off-Broadway. The Public Theatre is conveniently located next to two other theaters: Astor Place Theater and Playwrights Downtown.

10 PM: Fancy a drink?

Walk further southeast and you’ll reach the East Village where you can enjoy a glass of wine at Bibi Wine Bar or Bar Veloca. If you’re more of a cocktail person, stop by Please Don’t Tell or Berlin. And if you’re in the mood to move your hips, pop by JoyFace, Pineapple Club, or The Bowery Electric.

DAY 2

MIDTOWN AND CHELSEA

10 AM: Ready for breakfast?

Grab a bagel to go or stop by Blank Slate or Le Pain Quotidien for a quick bit, or try brunch at Sarabeth’s, The Smith, or The Blue Dog.

11 AM: MUSEUMS

The first museum stop is the The Museum of Art and Design, located on Columbus Circle. It is a premiere space dedicated to contemporary craft in all media. There might not be a ceramic exhibition at the moment, but they feature mixed media across all crafts and designs.

TIP: Check to see what craft demonstration might be scheduled on the 6th floor. The gift shop also showcases crafts in all media.

Alternate museum or in addition - if you have the energy - is the Museum of Modern Art. Head to the design floor where clay is featured as design inspiration.

1 PM: Lunch near MAD

Across the circle is an upscale shopping mall known as the Time Warner building. There is a Whole Foods supermarket on the lower level with a fresh food bar and a place to sit and eat. There are also many restaurants on the upper floors from moderate to expensive such as Momofuku and Per Se.

Additionally, a few blocks north on Broadway toward Lincoln Center is another museum gem, the Museum of American Folk Art.

Since you are now at Lincoln Center, you can always find a ticket at the box office to the Ballet, Opera, Philharmonic, or Theater.

ALTERNATIVE LUNCH in KTOWN

Walk down to 32nd Street where KTown resides. If you’re feeling Korean BBQ, try Five Senses, Woorijip, New Wonjo, or The Kunjip. If you don’t care to sit in a cloud of cooking meat, BCD Tofu House is well known for their soon dubu (spicy tofu soup) and there are vegan/vegetarian options.

2 PM: Care to do some shopping for your ceramic collection? OR sit in a Park!

Head east to the New York Design Centeron 200 Lexington, a high-rise with 100 showrooms. Go to their website for their list of showrooms, but make sure to check out Guy Regal and Wexler Gallery.

If you prefer sightseeing over shopping, walk to Madison Square Park and enjoy their public art installation or Little Island, a public park on the Hudson River West.

4 PM: More Galleries with Ceramic Artists

Chelsea is known for their galleries. You can spend the entire day going in and out of buildings (which have many galleries on each floor) and you still won’t see half of them.

Refer to Ceramic World Destinations to find a list of 40 galleries in the area.

Notable galleries: C24 Gallery, 303 Gallery, Nancy Hoffman Gallery, Kasmin Gallery, Gladstone Gallery, and David Zwirner.

TIP: Keep your eyes peeled for hot openings with an overflow of people on the streets.

If you prefer a museum, the Whitney Museum of American Art is in the Meatpacking District at the end of the Highline.

7 PM: Dinner (AND A LATE NIGHT WALK ON THE HIGHLINE)

Walking builds up an appetite so why not rest with food and a drink? Chelsea Market is a multi-leveled, space with a mix of food and clothing shops. It also houses many splendid food courts.

If you’re craving pizza, try Artichoke Pizza, Mel’s, or Ovest Pizzoteca.

The recently renovated El Quixote’s Spanish food is delightful. If you didn’t have Korean for lunch, try the Genesis House for elevated Korean Food. Again for the vegans, try Willow Vegan Bistro or Zizi’s for Mediterranean (they’re not vegan but have great options).

10 PM: Drinks? Dance? Jazz?

If you’re not exhausted, and in the mood for another round, stop by the Chelsea Hotel or Entwine Cocktail Bar for a late-night cocktail and The Standard or Soho House for dancing.

Prefer swinging to jazz? Walk towards Washington Square Park and stop by The Village Vanguard, Smalls Jazz Club, Bluenote Jazz Club, or Mezzrow.

Want to laugh? Get tickets for the Comedy Cellar and have one last cocktail at the basement speakeasy Up and Up.

DAY 3:

UPPER EAST SIDE

10 AM: THE MET

Have your coffee and head up to the Metropolitan Museum of Art

The Metropolitan Museum of Art - While there are ceramic collections from every century at the Metropolitan, a good place to start is up the grand staircase. Walk around the mezzanine where there is a great cross-section display of 19th and 20th Century ceramics.

TIP: Another visitor entrance on the ground floor is less crowded and has a museum shop with discounted/clearance items.

TIP: Ground Floor Eatery is cafeteria style that is casual and efficient

Other museums in the area worth visiting are the Cooper Hewitt Design Museum, The Jewish Museum, Guggenheim, Frick Madison, and the Asia Society Museum. All are located on or near Fifth Avenue. In fact, Fifth Ave here is known as Museum Mile.

1 PM: Central Park

Museum Mile (Fifth Ave) is parallel to Central Park so this is a great opportunity to stroll into the park! Stop by a bodega, diner, cafe, or food truck to get a bite to go, and find an empty spot to sit in Central Park. Walk off lunch by getting lost in the expansive park with many routes and beautiful scenes.

Selected ceramic galleries in the Upper East Side to visit: Joan Mirviss Gallery, Gagosian Gallery, and the Zetterquist Gallery.

If you want an ocean breeze and the best views of Manhattan and the Statue of Liberty, board the NYC Ferry which circumnavigates Manhattan for the price of a subway ticket. NYC SUBWAY MAPS

Want to see our next ceramic guide to a city? Amsterdam + Hague and Brooklyn + Long Island City are next on our list. Subscribe to our newsletter for an update and send your suggestions to INFO@MOCA-NY.ORG.

3-D Clay Printing with Kiichi Takeuchi

Ilsy Jeon, creative director and writer at MoCA/NY, speaks with Kiichi Takeuchi about his latest 3-D clay-printed project "Not For Tomato Soup Cup (Global Warming Cup)" and the intersection between ceramics and technology.

Originally from Japan, Kiichi moved to the US in 1998 to study computer science and has worked as a software developer for more than 23 years. He works at the Long Island University where he also studies ceramic art. At NCECA’s 2023 Conference, Kiichi presented his talk Clay Fab Lab: Scan and Print 3-D in Classroom.

IJ: So Kiichi, you have an extensive background in computer science, and I’m curious about your trajectory into developing a ceramic practice. Did 3-D clay printing introduce you to ceramics or did you start with clay building and decide to move towards integrating technology?

Kiichi Takeuchi: The actual answer is yes for both. Somebody just called me a techno potter. I don’t know what that means [laughs], but I started with very, very basic hand-building and wheel throwing. In 2022, the department purchased our first 3-D clay printer in our Craft Center, and I was assigned to lead a study group and research and figure out how it works and make it useful to the classroom. My boss points his finger at me, “You, your computer guy, you take care of this.” Then, the challenge [was to] learn about 3-D clay printers. It's a little bit different from the 3D plastic printer.

IJ: I do love that term—techno potter. What would you say is the major difference between working from hand versus a 3-D printer?

Kiichi Takeuchi: If you look into the perspective of complexity and craftmanship, they [are] actually very similar.

When people watch those time-lapse videos of the clay printer it looks like magic. However, when you're trying to print by yourself, it's a lot of like manual configuration and all sorts of tricks and techniques I have to learn. Even like cleaning a printing printed nozzle, there is some techniques to it. So in a sense, the 3-D clay printer is a little bit more technical than the electric wheel. However, it still needs a lot of manipulation by artists and that's the room that we can expand the horizon.

So, [regarding] my work “Not for Tomato Soup Cup” (Global Warming Cup), the spiral shape, that’s all adjustment and trial and error results and I did a lot of experiments. So it’s not like you turn on a button and it’s like magic. It’s not.

IJ: Regarding your piece “Not for Tomato Soup Cup,” you’re referencing the recent controversial protests against global warming where “activists" threw tomato soup at paintings in museums. Why did you reference this in your title?

Kiichi Takeuchi:I usually try not to step into political arguments but here it’s just my honest reaction to the art scene. To explain how I titled the cup, I need to explain my background. So after [studying] computer science, I took Earth Science courses. I pretty much spent the time to study the scientific aspect of global warming and the research, all the lies and the truths in the data.

And what I wanted to indicate here is, yes, global warming is happening and we have to take action against it and that's a major issue, however, those activists who threw the tomato soup at the masterpiece…that’s a kind of overwhelmed reaction to me.

IJ: It's more stirring a spectacle and creating hoopla rather than inviting people to have a genuine and productive conversation?

Kiichi Takeuchi: Exactly. So, to me, that's just like a counter-reaction to put it in the title.

IJ: And do you have other 3D printing projects in development?

Kiichi Takeuchi: Yes, I'm going to pitch one idea extending this global warming cup. This is the concept of generating [a] functional cup, so an actual cup that you can generate from abstract to numerical data. These are just numbers. I want to apply the same concept to any data.

For example, let's say you can quantify music data, like, classical music or jazz.

So if I print the jazz versus the classical music, how do they look different? Because obviously the classical music has more, let's say variety of instruments versus jazz [which is] composed with, the saxophone, drums, guitar, and piano, very simple. So the frequency distribution in the sound may be different. So that’s what I want to explore.

To learn more and explore Kiichi Takeuchi's works, CLICK HERE.

2024 SUMMER RESIDENCY: SESSION THEMES

Manga Ormolu

A BELOVED COLLECTION, 1994-2022

Works from the private collection of Elizabeth Harvey Levine

Visit James Cohan Gallery at 48 WALKER ST NEW YORK, NY 10013, or explore and learn more about A Beloved Collection and Kathy Butterly online: James Cohan Gallery

Organic Reflection

Visit HB381 Gallery at 381 Broadway, New York, NY 10013, or explore and learn more about Organic Reflection online: hb381gallery.com

1. David Kordansky Gallery

Betty Woodman (1930 - 2018)

2. James Cohan Gallery

Kathy Butterly

3. Yoshii Gallery

Taizo Kuroda

4. Sperone Westwater Gallery

Bertozzi & Casoni

5. P·P·O·W Gallery

Ann Agee

6. Marian Goodman Gallery

Tavares Strachan

7. Thomas Colville -Fine Art Gallery

Elie Nadelman

IJ: The tragic death of George Floyd by the Minneapolis police, which you comprehensively documented, occurred just two years before your awareness of the Slave Trade in Portugal.

Considering the racial tensions in the US, how did it feel to conduct research in a foreign country and recognize that racism is pervasive in all lands? How has your research evolved to highlight your understanding and relationship to your ancestry, identity, and art practice?

IJ: The ceramic heads depicting Black faces each have a distinct personality and characteristics that respond to their corresponding images. What was your approach and process for creating these ceramic portraits? Who are these people that you are paying homage to?

IJ: Following up on the previous question: how has your research about the African diaspora and Hip-Hop culture influenced the formal and conceptual aspects and features of these ceramic forms?

How have you been navigating the predominately White spaces of clay and what challenges have you experienced? Have you seen sufficient progress in the American ceramic field within the last few years? Are there new artists or movements that inspire you?

IJ: You state how artists of color are “continually faced with the question of why ‘WE’ do what we do. […] It seems we are left to explain why ‘WE’ create what we create.”

Can you elaborate on what you mean by “WE” and how White ceramic artists aren’t subject to the same questions, prejudices, and mis- and pre-conceptions that artists of color face?

Patti Warashina, a renowned and acclaimed satirical ceramicist based in Washington (US), speaks with Ilsy Jeon about her recent solo exhibition at the Traver Gallery titled The World Upside Down.

IJ: Your work reveals aspects of society that you consider significant to explore and scrutinize—what are the issues in the exhibition that you’re addressing and how do you wish the viewer to engage and respond to your pieces?

IJ: Your figures express anxiety, tension, desire for escape, and helplessness but all in a humorous and playful tone. As a satirist, how do you balance these juxtaposing feelings?

IJ: You reference the pandemic and the collective experience of madness and disorder we all endured. How has the pandemic affected your work?

IJ: Over your 60 years of working with clay, how has your relationship with the medium evolved? Do you see a difference in how clay is expressed, created, and experienced today versus when you first started?

To explore and learn more about Patti Warashina's exhibition The World Upside Down at Traver Gallery, CLICK HERE

To watch Traver Gallery's walkthrough with Patti Warashina, CLICK HERE

To read Patti Warashina's Statement, CLICK HERE

ITINERARY

DAY 1

LOWER MANHATTAN - Tribeca, Chinatown & East Village

3PM: GALLERIES

6 PM: Getting hungry?

7:30 PM: Theater Experience

10 PM: Fancy a drink?

DAY 2

MIDTOWN AND CHELSEA

10 AM: Ready for breakfast?

11 AM: MUSEUMS

1 PM: Lunch near MAD

ALTERNATIVE LUNCH in KTOWN

2 PM: Care to do some shopping for your ceramic collection? OR sit in a Park!

4 PM: More Galleries with Ceramic Artists

7 PM: Dinner (AND A LATE NIGHT WALK ON THE HIGHLINE)

10 PM: Drinks? Dance? Jazz?

DAY 3:

UPPER EAST SIDE

10 AM: THE MET

1 PM: Central Park

Want to see our next ceramic guide to a city? Amsterdam + Hague and Brooklyn + Long Island City are next on our list. Subscribe to our newsletter for an update and send your suggestions to INFO@MOCA-NY.ORG.

Ilsy Jeon, creative director and writer at MoCA/NY, speaks with Kiichi Takeuchi about his latest 3-D clay-printed project "Not For Tomato Soup Cup (Global Warming Cup)" and the intersection between ceramics and technology.

IJ: So Kiichi, you have an extensive background in computer science, and I’m curious about your trajectory into developing a ceramic practice. Did 3-D clay printing introduce you to ceramics or did you start with clay building and decide to move towards integrating technology?

IJ: I do love that term—techno potter. What would you say is the major difference between working from hand versus a 3-D printer?

IJ: Regarding your piece “Not for Tomato Soup Cup,” you’re referencing the recent controversial protests against global warming where “activists" threw tomato soup at paintings in museums. Why did you reference this in your title?

IJ: It's more stirring a spectacle and creating hoopla rather than inviting people to have a genuine and productive conversation?

IJ: And do you have other 3D printing projects in development?

To learn more and explore Kiichi Takeuchi's works, CLICK HERE.