Posted by Kevin Ramler
Student Perspectives is a thread of programming led entirely by students. With topics ranging from the technical to the cultural, this is a chance to meet students with similar interests. Do not be shy about approaching the presenters after their talks! There are 14 of these fabulous student sessions, all in Room 102 A-C
By Janice Chassier
Obvara Pottery, what’s that? Where did it come from and why did the ancient potters of Eastern Europe use this technique? What did the ancient potters create, and what are artists around the world currently using this technique for? Learn the basics and start your own exploration.
The significance of clay in our daily lives is deeply rooted beyond the physical object. The permanence of clay becomes an important tool that, throughout history, has been used to preserve and commemorate. We subconsciously desire to be remembered and we consciously decide to record our memories.
By Stephen Futej
Uncover a path that leads from pure object making to the embrace of conceptual art, by tracing the origins of the conceptual and examining artists who have embraced concept.. Futej will also illustrate some pitfalls of being an object maker by relating personal missteps, and his development of certain survival tools.
By Seth Czaplewski
This presentation covers technical and artistic examples of leading a more sustainable ceramic practice: including recycling paper in clay, cob studio and furniture, and using wad/wash in biochar. Also the strategies and tactics, in conjunction with a sustainable practice that lead to long-term relationships between the artist and the public.
By Seana Higgins [m], Ellen Kleckner, Charity White, Clara Hoag
How do the transitional moments in an artist’s life define their work? This panel of early career artists will address the transient nature of pursuing higher education. Uprooting, redefining, relocating, and learning to let go- a discussion of options regarding the before, after, and in-between.
By Raheleh Filsoofi
From ancient ziggurats to the masterworks of Golestan Palace, clay as a material is an essential part of Iranian cultural identity. This lecture will examine how cultural, social and political changes affect the colors, patterns and designs of ceramic tiles of different time periods and locations.
By Lauren Skelly [m], Katrina Rattermann, Christopher Delloiacono, Jarred Pfeiffer
Have you ever thought about an MFA program? Maybe there are fears holding you back? Are there questions you’d like answered? Come check out a panel of current students and alumni talk about major concerns like tuition, transition, and the end product. Bring your question, friends and an open mind.
By Joshua Kuensting
Because of the unique business classes that I took while pursuing my MFA I came to know the difference between a good idea and a true business opportunity. Join me as I present some of the highlights and lowlights of being a MFA in the MBA world.
By Jason Bennett
A re-investigation of archetypal vessels in the context of contemporary ceramics places the tea-pot, tea-bowl, and cup into their historical and functional dwelling. In effect, this amplified perspective heartens artists and potters to find new and deeper meaning in their work.
By James Ferrante
Descended from the surfaces created by scumming in the soda kiln, this presentation describes the use on various soluble salts to create rich atmospheric like surfaces in reduction, electric, and other firings.
Whether you are out of school, in between, or still in it, you can still get out there. This presentation will provide insightful information from three students who went out of the country and took advantage of opportunities within our global ceramic community.
By Henry Crissman
In an effort to rationalize material use and develop meaningful ways of working, artists are focusing on the audience as a primary concern, in a movement known as “social practice”. This presentation hopes to recognize this shift, addressing the potential successes and pitfalls of social practice within contemporary ceramics.
By Meredith McGriff
For potters, the feel of a pot is integral to the experience of the piece. Yet in museums, preservation is crucial and visitors are often prevented from touching exhibited objects. This presentation explores touch as an essential aspect of human experience, and proposes compromises for ceramics exhibitions.