call for artists: exhibition opportunity @ JANE HARTSOOK GALLERY (Greenwich House)

Greenwich House Pottery held exhibitions of ceramics almost since the day it was established in 1905, though it was not until 1970 that Jane Hartsook (Director, Greenwich House Pottery 1945-1982) created a permanent exhibition space on the second floor of The Pottery. Upon her retirement in 1982, the gallery was renamed the Jane Hartsook Gallery in her honor.
The Jane Hartsook Gallery echoes the Pottery’s commitment to supporting emerging and established ceramic artists who have demonstrated an innovative level of excellence within the medium. The Gallery also promotes an educational mission to share historical and contemporary works in clay with a diverse community. The Gallery accepts proposals from artists or curators where clay/ceramics is the primary medium. We aim to represent the wide-ranging capabilities of clay as a material and are interested in work that approaches the medium from art, craft, and design perspectives.

The next deadline for proposals is September 1, 2018. Instructions for submitting a proposal can be found here.

Call to Action by Ayumi Horie and Tess Mattern

In the wake of #metoo in ceramics, @potsinaction encourages every ceramics and craft organization to adopt and establish clear and unambiguous policies regarding inclusivity, diversity, and safety. It’s high time that leaders and educators in our field commit to more actively creating environments that are welcoming and safe to all, regardless of race, ethnicity, sex, gender, culture, disabilities, religion, age and socioeconomic status. While we have made progress, more work is needed. Ceramic machismo and its perniciousness within clay culture has been tolerated for far too long.

Don’t assume that your programming is without bias or that you’ve done all you can do. Instead, be active in the education of your trustees, staff, and writers about the damage done from bias, prejudice, microaggressions, harassment, and assault. Hire staff and elect trustees who mirror the breadth of diversity in this country. We understand that organizations are slow-moving ships and that it takes time to craft statements that reflect the core values and uniqueness of organizations. Much of the important work done by art orgs happen outside the realm of social media, but posting publicly on this issue matters deeply. While an overnight response is not expected, this is a call to action to get the ship turning on all platforms.
If you are part of an organization, institution, or school, speak up! Demand transparency and clarity about what steps they are taking to be more inclusive, diverse, and safe for those who don’t have equal privileges. Victims and survivors need practical tools and support for where to go when an incidence takes place. For those of you who have reposted about #metoo in ceramics – thank you! Now take the next step to compose your own statement or tell your #metoo story as a way to crack open the field and let in the light. If you have been part of this field, support survivors of sexual harassment by believing them and speaking out to change institutional policies.
Image of Viola Frey, a powerhouse woman who worked within the male-dominated California expressionist ceramics movement of the 1960s.
Viola Frey (1933 – 2004) is not defined by her obstacles. She was internationally known and revered during her lifetime and her monumental figures have made a profound mark on the art world internationally. However, in her 1995 @archivesamerart oral history transcript, she recounts the many ways she worked at a “double disadvantage.” She faced obstacles her male counterparts were unburdened by, including securing studio space, having her work dismissed or derided, and feeling isolated as a woman operating outside the “macho thing.” In the classroom, she says, “The feminist-type art had no chance at all.” Excerpts from her oral history:
VIOLA FREY: Yeah. And it sort of did dominate. Sometimes the faculty even would just attack in such a gross way that the student would be weeping, they’d be so upset at the way they were treated. It was pretty ugly.
PAUL KARLSTROM: This is male faculty?
VIOLA FREY: Yes. They could not. . . . They would just say, “I cannot critique or look at a work like this.” A #metoo message from the past. Photo by Michael Macor. — @ayumihorie and @tessmattern


call for entry: Wayne Art Center (PA), International Call for Artists: Craft Forms 2018

24th International Juried Exhibition of Fine Craft

Deadlines: September 14th, 2018, midnight CDT 
Digital Entry Deadline ($45 Fee)

September 18th, 2018 midnight CDT 
Digital Entry Extended Deadline ($65 Fee)

Established in 1995, Craft Forms is dedicated to enhancing the public’s awareness of fine contemporary craft while providing a venue for established and emerging artists to share their creative endeavors. Craft Forms is internationally recognized as one of the premiere contemporary craft exhibitions. The finest works of ceramics, wood, fiber, metal, glass, mixed medium and 3D printing are featured, supporting the Center’s mission of expanding the public’s awareness of fine contemporary crafts, and significantly benefiting all educational and outreach programs for children and adults.

One of the most highly esteemed museum-quality craft exhibitions in the United States, Craft Forms consistently draws upward of 5,000 visitors during its two month exhibition. More than 250 guests, including art collectors, supporters of the Wayne Art Center, and artists, annually celebrate Craft Forms and its companion show at the Opening Gala. The exhibitions and special events continue to attract local, regional, nation and international visitors throughout the duration of the show.

Juror: Perry Allen Price, Executive Director, Houston Center for Contemporary Craft, Houston, Texas. Previously, Price was director of education at the American Craft Council (ACC) in Minneapolis, Minnesota, where he developed, managed and implemented all aspects of local and national outreach and programming for nearly four years. He offers HCCC a wealth of experience in arts administration, including project and fiscal management, fundraising, scholarship programs and exhibitions, as well as a passion for developing and fostering national relationships in the world of contemporary craft.

Eligibility: Open to all professional artists working in clay, fiber, quilt, glass, metal, jewelry, wood, 3D printing, and/or mixed media fine craft.

Works submitted must have been completed after January 1st, 2016. If the work was accepted into a previous Craft Forms exhibitions, this work CANNOT be re-submitted for this or future Craft Forms.

Awards:  Our efforts to cultivate organizations that acknowledge artists in various disciplines are ongoing. We are very pleased to announce $8,000+ in prize awards this year.  Craft Forms 2018 Juror, Perry Allen Price, will select the award winners on December 7th, 2018. Once an artist is accepted into Craft Forms, future group and/or solo exhibition opportunities may become available at Wayne Art Center. An abbreviated catalog of artwork will document the juried exhibition and two copies will be supplied to accepted artists.

For more detailed information, submission guidelines and link to entry via CaFE:

Website link:

About Wayne Art Center: The purpose of the Wayne Art Center is to provide both instruction in the studio, and to build appreciation of the visual and performing arts through our many exhibits, lectures and programs. The Center affords artists an interdisciplinary venue to share, learn, exhibit and perform. They are located in Wayne, Pennsylvania.

call for entries: The National Juried Show with the International Twist! (March 3 – June 15, 2019)


1st place – $1000 / 2nd place – $500 / 3rd place – $250 / Honorable Mentions


This juried show is open to all US artists/residents (ages 18+) working in clay/ceramics. Works must be original, handcrafted, and have been completed in the past two years. Works submitted for consideration must fit on a 24”x24” or 15”x15” pedestal. Works may not have been previously exhibited at the North Carolina Pottery Center. Submission of an entry to this show constitutes an agreement by the artist to all conditions and stipulations listed in this Call for Entries.


Artists may submit images of up to three (3) works for a non-refundable $35 fee. Submissions will not be considered complete until both the entry submission and the entry fee have been received by the North Carolina Pottery Center. Preferred entry fee payment is online by credit card via the center’s secure payment form at

If you need to pay by check, please make payable to North Carolina Pottery Center and mail to: North Carolina Pottery Center, PO Box 531, Seagrove, NC 27341.


Up to three (3) works may be submitted for consideration. Images of works must be submitted online via for preliminary judging. For each work, up to three (3) separate images showing details or different views may be submitted.

Images of works accepted will be retained/used by the North Carolina Pottery Center for record-keeping, documentary, and publicity purposes.

Digital images must be submitted in jpg format. Artist names should not appear on the image itself.

For good image quality and a fast upload, your image files must be sized around 1800 x 1800 pixels at 72 dpi (approximately 6″ x 6″ at 300 dpi). Please do not submit images smaller than this. Each image should be no larger than 5mb.

Digital files must be named using the following naming scheme:



To insure impartiality, the Juror will select works for the exhibition using a blind jury process. Artist names will not be included with any digital images sent to the Juror.

Entries will not be considered complete until the entry submission fee has been received. Entry materials and entry fee are due no later than December 15, 2018.


Douglas Fitch (
Doug is also going to be one of the featured presenters at the 2019 North Carolina Potters Conference, sponsored by the Randolph Arts Guild, in Asheboro, NC, the first weekend in March 2019.

Says Doug, “My wife and I are long established potters with international reputations, havingtraveledd in Japan and throughout the USA, to exhibit our work and to deliver workshops and lectures. In 2013, we became partners in life and in business. Our styles compliment, as we have evolved from similar influences, but our work is nevertheless clearly distinct from one another.

I have been making pots for most of my life. It’s a strange thing, to be excited by something as simple as a brown clay jug and I can’t explain it, but it seems that it happens to some people; it just gets under your skin.

It was at the age of eleven that I first encountered medieval pottery. My headmaster, a keen archaeologist would take us on trips to formerly inhabited sites, commonly ploughed fields, where our eyes would scour the furrows in search of fragments of pottery. Back in the school room, he would show us photographs of the type of pottery that these shards had once formed a part of. The experience gave me my understanding at the time, of what I considered pottery made by hand looked like. This aesthetic has formed the basis of my work ever since.

We share materials, working in red earthenware, decorated with a self-imposed restricted palette of coloured slips, covered with rich honey glazes. The pots are fired in the wood kiln, which we stoke continuously for up to twenty hours. Subsequently we travel together to shows up and down the country, selling our wares. Our life is our work and our work is our life, we live and we breathe pottery.”

For more info: