NCECA 2013 Ceramics Biennial / Houston Center for Contemporary Craft, USA

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NCECA 2013 Ceramics Biennial / Houston Center for Contemporary Craft, USA

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NCECA 2013 Ceramics Biennial / Houston Center for Contemporary Craft, USA
January 26 - May 5, 2013

Award presentation & Reception: Thursday, March 21, 5:30 - 9 PM.

Held in conjunction with the Annual Conference in odd-numbered years, the NCECA Biennial is the premier juried exhibition open to all current members of NCECA (both national and international) and to all ceramic artists, 18 years and older, residing in the U.S.

Houston Center for Contemporary Craft will host the 2013 Biennial Exhibition from January 26 - May 5, 2013. The opening reception will take place on January 25, 2013 and a reception will also be held during the Houston Conference on Thursday, March 21, 2013 from 5:30 - 9:00 pm. NCECA produces a color catalog featuring work by all participating artists and may be pre-ordered through NCECA’s Online Store. Remaining copies may also be available for purchase at conference.

Participating artists: Nicole Aquillano, Christa Assad, Tom Bartel, Nicholas Bivins, Renée Brown, Josephine Burr, Gary Carlos, Lisa Cecere, Du Chau, Andréa Keys Connell, Emily Connell, Shenny Cruces, Elizabeth DeLyria, Sharan Elran, Léopold L. Foulem, Teri Frame, Chad Gunderson, Sarah House, Erica Iman, Ryan LaBar, Thomas Lane, Lauren Mabry, Ted Neal, Tybre Newcomer, Claudia Olds Goldie, Vijay V. Paniker, Joseph Pintz, Paolo Porelli, Audrey Rosulek, Joel Schroeder, Linda Sormin, Mark Nathan Stafford, Michael Strand, George Timock, Triesch Voelker

Jurors: Cristina Cordova, Namita Gupta Wiggers, Richard Notkin

Internationally acclaimed for her hauntingly, provocative figurative sculptures, juror Cristina Cordova has a well-established record of museum exhibitions including: Fuller Craft Museum, Brockton, MA; Museum of Contemporary Art, Puerto Rico; Museo de Arte de Puerto Rico, Puerto Rico; Mint Museum of Craft Design, Charlotte, NC; Mobile Museum of Art, Mobile, AL; Gretchen Keyworth, Society of Arts & Crafts, Boston, MA and the Joseph -Schein Museum, NY. A highly respected workshop teacher, Cristina has led numerous workshops in figurative art in universities and art centers such as: Armory Arts Center, Haystack Mountain School of Crafts, Anderson Ranch Arts Center and Penland School of Crafts where she serves as a trustee. A graduate of Colegio de Agricultura y Artes Mecánicas, Mayagüyez, Puerto Rico and New York State College of Ceramics, Alfred University; Cristina’s work challenges gender and racial boundaries while engendering discourse on intellectual conventions and social mores. Cristina recently exhibited her art in Bestiario at the Morean Arts Center, St. Petersburg, FL during the 2011 NCECA conference and in Push Play: The 2012 NCECA Invitational at Bellevue Arts Museum.

Namita Gupta Wiggers is curator at the Museum of Contemporary Craft in partnership with Pacific Northwest College of Art, Portland, OR, where she directs the exhibition, collection and public programming. Her curatorial work combines her experience and training as an art historian, a museum educator, ethnographer and design researcher, teacher, writer, and studio art jeweler. Through exhibitions and programming, Wiggers considers how craft and design function as subjects and verbs, and as simultaneously distinct and intersecting practices, and how the exhibition operates as a site and space for cultural inquiry.
Recent publications include Generations: Betty Feves (forthcoming), Ken Shores: Clay Has the Last Word (2010), and Unpacking the Collection: Selections from the Museum of Contemporary Craft (2008), the first publication to document the Museum’s collection and the institution’s connections to dramatic changes in craft-based and artistic practice over the past 70 years. Wiggers edited Garth Clark’s How Envy Killed the Crafts Movement: An Autopsy in Two Parts (2009) and contributes essays for museum catalogues, including Hand Made: The Performative Impulse in Art and Craft (2010, Contemporary Arts Museum, Houston) and Innovation & Change: Ceramics from the Arizona State University Art Museum (2009, Ceramic Research Center, ASU). Her writing on contemporary jewelry includes Mining History: Ornamentalism Revisited (Metalsmith, 2009), co-authored with Lena Vigna and Curatorial Conundrums: Exhibiting Contemporary Art Jewelry in a Museum Environment (Art Jewelry Forum Website, 2010). She is the co-founder of Critical Craft Forum, and serves on the Board of Trustees, American Craft Council and the curatorial board of accessceramics, an online clay-focused database.

Richard Notkin lives and works in Helena, Montana, creating works deeply influenced by the centuries-old tradition of Yixing pottery from which he has adopted the precise working methods and a penchant for trompe l’oeil. With his artwork serving as an extension of his conscience, Richard’s ceramic sculptures and tile murals are visual explorations into social and political commentary questioning military misadventures and foreign policy around the world with particular focus on nuclear weaponry and energy. Richard Notkin received his BFA from Kansas City Art Institute and MFA from University of California, Davis. His awards include: Artist Fellowship, National Endowment for the Arts, 1979, 1981, 1988; Fellowship in Sculpture, John Simon Guggenheim Memorial Foundation and The Louis Comfort Tiffany Foundation and the Hoi Fellowship from the United States Artists Foundation. In 2008, he was elected to The American Craft Council College of Fellows. His work is in over 60 public collections including: Metropolitan Museum of Art, Los Angeles County Museum of Art, Cooper-Hewitt Museum, Carnegie Museum of Art, Charles A. Wustum Museum of Art, Mint Museum of Craft and Design, Montreal Museum of Decorative Arts, Stedelijk Museum, Amsterdam, Shigaraki Museum of Ceramic Art and Victoria and Albert Museum, London.

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