Greenwich House

Hope Rovelto
2012-07-12 - 2012-08-09 | NY
Hope Rovelto
July 12 – August 9, 2012
The Jane Hartsook Gallery is pleased to present the work of Hope Rovelto for her New York City Solo Exhibition debut. This work represents the culmination of her 10 months as Greenwich House Pottery’s Resident Artist.
“My work involves contemporary issues in my life as well as those in the world around me. The individual and social topics I choose to depict are global issues that not only serve as a method in which to deal with my own frustrations with my past, present and future, but also serve as a way for viewers to think about frustrations in their own experience. I am influenced by American culture, current media and politics, and what I view as the degradation of the human experience through social and environmental poisons which plague our world. I feel that it is my job as an artist to not only explore these ideas but also present them, provoking an awareness response. Because I believe that art reflects the world in which it exists, politics and art often intersect. As we approach the 2012 presidential election, I want to create a show that depicts the ever-growing tension in our intense political climate.” –Hope Rovelto
Hope Rovelto earned her BFA in sculpture from Maine College of Art and her MFA in ceramics from RIT. She has taught ceramics and art history at the University of the Arts and Philadelphia University. She owns a screen printing and ceramic decal business in Philadelphia, and is currently finishing up a residency at Greenwich House Pottery in NYC. Hope was a resident artist at Watershed Center for Ceramic Arts, where she currently sits on the Board of Directors. Other residencies Hope has participated in include Arrowmont School of Craft in TN, Penland in NC, and Oxbow in MI.

Julia Haft-Candell and Benjamin DeMott
2012-04-19 - 2012-05-17
Julia Haft-Candell and Benjamin DeMott
April 19 – May 17, 2012
The Jane Hartsook Gallery is pleased to present the work of Julia Haft-Candell and Benjamin DeMott. Their installation gives rise to an alternative way of seeing ourselves, materials and the space between these components. This exhibition relates to the figurative – psychological, physiological, metaphorical and active and passive notions of impermanence, mapping, reclaiming, and collecting. Beyond their conceptual affinities their work reflects a unique, almost contrarian, handling of the material prevalent in today’s expanded field.
“Fragile, thread-thin ceramic extrusions are tenuously bound to one another by glues and household fix-it material. The painfully delicate fired ceramic line, zigs and zags splintering into a complex network where the familiarity of scale shifts from that of the watchmaker to the astronomer. Interspersed within these precarious structures are decorative debris…Highlighting impermanence, these assemblages are contingent and situational, potentially configured for only a short duration. A playful longing for solidity amidst operatives of change inspires this dialogue with material. My intent is to afford the audience a confrontation, a friction between wonder, awe and the trepidation felt by the prospects of uncertainty. I aim to explore what uncertainty has to offer.” –Benjamin DeMott
“Through my work I am echoing the characteristics of a complex system. Seemingly disparate events align to form a whole. Each element of the system is unique, yet needs the others in order to function, as small changes in a part can drastically alter the integrity of the entire structure. By creating a vocabulary comprised of cells that are repetitively constructed, added, subtracted and rearranged, I can speak of the phenomenal interconnectedness of all things… Ultimately the goal is to form a composition that most effectively speaks to the ambiguity of perception and the complexity of being.”—Julia Haft-Candell
Julia Haft-Candell was born in Oakland, California. She received an MFA from California State University Long Beach in 2010. She currently lives and works in Los Angeles. Benjamin DeMott was born in Allentown, Pennsylvania. He earned an MFA from the New York State College of Ceramics at Alfred University and a BFA from Tyler School of Art at Temple University.

Forehandedness, David East
2012-03-01 - 2012-03-29
Forehandedness
David East
March 1 – 29, 2012
The Jane Hartsook Gallery is pleased to present Forehandedness—new sculpture by Baltimore-based artist David S. East. For his first solo exhibition with this gallery, East has created monuments of dailiness, sculptures that combine ubiquitous ornamentation and serene pastels—at times uniting technology and woven fabric—offering a genealogy of cultural homogenization. East’s work is thoughtful however much the installation effortlessly transposes formalism and irony.
“Through architectural and design references my work has revolved around issues of urban planning,architectural ornament and design as signifiers of our cultural history. My work attempts to reveal the positive and negative by-products of our attempts to establish order. As Ebenezer Howard’s idealism gives way to white flight and Constance Spry is remade into Martha Stuart as a multi-national; my work attempts to trace these cycles, combining the nostalgia of gingham with the high modernism of an Eames profile. The sources and images I have sought out: cheap Styrofoam knock-offs of classic decorative trim, the rosette, the mantle; become a mirror of the phenomena and peculiarities of an “American” point of view. The approach I have taken attempts to reflect on the monumental within the mundane, and seeks to bore out the middle of modernism to see its split-level by-products. The work rotates around these axes operating as much a strategy of thinking as of making.”—David S. East
David S. East is Chair of Ceramics at the Maryland Institute College of Art. East has taught as a visiting artist at the University of Missouri-Columbia (2001-2007), Alfred University, Kansas City Art Institute, Massachusetts College of Art, Illinois State University, Illinois Wesleyan University, Washington University, Ohio University and Tainan National College of Art, Tainan, Taiwan. East’s work has been exhibited nationally and internationally in juried and curated exhibitions, most recently at the GICBiennale 2011, Icheon, Korea. He has received numerous awards including an Individual Artist Award from the Maryland State Arts Council, the Lighton Foundation and the McKnight Foundation. He was in residence at the European Ceramic Work Centre in 2007 and was recently the Visiting Artist in Residence at Tyler School of Art in Philadelphia, PA. East received his BFA in Ceramics from the University of Wisconsin – River Falls (1997) and his MFA from Southern Illinois University Edwardsville (2000).

Sightlines, Michael Fujita
2012-01-19 - 2012-02-16
Sightlines
Michael Fujita
January 19 – February 16, 2012
Greenwich House Pottery is pleased to present Michael Fujita’s New York City debut exhibition, Sightlines.This exhibition features sculptures with architectural components placed within/alongside juxtaposed the architecture of the gallery. It is influenced by the observations of the commonplace as seen in his daily life, the embodied experience, the space between himself and his horizon.
“Inspired by observations and materials found in the urban landscape, Sightlines is and offering of objects that are reinterpretations of the landscape.” – Fujita
Michael Fujita is currently on the faculty of Greenwich House Pottery and The Clay Studio in Philadelphia where he is serving his fifth year as resident artist. Before completing his MFA from Alfred University in 2008, he received his BFA from Kansas City Art Institute.

Yunomi, A National Juried Exhibition
2011-07-14 - 2011-08-11
Yunomi
A National Juried Exhibition
July 14 – August 11, 2011
This National Juried Exhibition explores the vessel. “Yunomi” is a Japanese term for a teacup made for daily (informal) use and not for the tea ceremony. The exhibition features work by Karin Abromaitis, Jeff Brown, Tom Budzak, Christopher Chaney, Matt Conlon, Fred Herbst, Jim Connell, Adam Field, Yoshi Fujii, Perry Haas, Meredith Host, Tom Jaszczak, Kyle Johns, Don Mengay, Sean O’Connell, Lorraine Oldeman, Warren Smith, and Ryan Strobel.

Jim Connell

Sean O’Connell

Lorraine Olderman

Ryan Strobel

Place/Setting, Sam Chung
2011-03-03 - 2011-03-31
Place/Setting
Sam Chung
MARCH 3 – MARCH 31, 2011
The Jane Hartsook Gallery is pleased to present a new installation by Arizona-based artist Sam Chung. For this New York City exhibition Chung has created a unique installation featuring place/settings on a custom built table for 16 people.
“The large dinner setting presented here composes individual pieces of tableware into a larger topographical landscape. This installation is informed by pottery traditions that reflect my own history and experiences.
Place, as it relates to me, begins with my experience as a second generation Korean-American growing up in Minnesota, a state with a strong Scandinavian ancestry. As I later traveled extensively throughout Asia, I began to understand the duality of place and how it can feel simultaneously foreign and familiar.
In 2005, I was a resident artist at Guldagergaard, a ceramics center in Denmark. It was here where I experienced a familiar reverence for the poetic simplicity of contemporary Scandinavian design and the porcelain-ware from Royal Copenhagen. The work in Place/Setting pairs this discovery with my interest in Korean ceramics and my ongoing curiosity about my own ethnic origin. The overall presentation provides a comment on cross-cultural identity from the intimacy of a domestic setting. ” -Sam Chung
Sam Chung was born in Minneapolis, Minnesota and received his MFA from Arizona State University and his B.A. degree from St. Olaf College in Northfield, Minnesota. In between undergrad and grad school he worked as a special post-bac student at the University of Minnesota. Chung taught at Northern Michigan University and is now teaching at Arizona State University in Tempe. He has had exhibitions at Cervini Haas, AKAR, Dubuque Museum of Fine Art, Sherry Leedy, Santa Fe Clay, Lacoste, Taipei County Yingge Museum, and the Incheon World Ceramic Center. Chung has work in the collections of the Crocker Art Museum, Incheon World Ceramic Center (Korea), Guldagergaard (Denmark), Shepparton Art Gallery (Australia), University of Arkansas, and Arizona State University Ceramics Research Center. Chung has attended residencies at Anderson Ranch Arts Center, Watershed, Guldagergaard (Denmark), The Pottery Workshop (China). Chung’s work has been included in such publications as Contemporary Ceramics, The Art of Contemporary American Pottery, The Complete Guide to High Fire Glazes, and Masters of Porcelain.

Folly, Beth Katleman
2011-01-20 - 2011-02-17
Folly
Beth Katleman
January 20 – February 17, 2011
The Jane Hartsook Gallery is pleased to present a new installation by New York-based artist Beth Katleman, whose work has been described by Ken Johnson in the New York Times as “doll-sized rococo theaters of murder and domestic mayhem.” Her deliciously subversive porcelain sculptures combine rococo ornament with icons from popular culture.” Katleman has created 50 porcelain tableaus each scene is an idealized landscape with water, topiaries and architectural follies.
“I have long been fascinated by Toile de Jouy, the printed fabrics that drape the walls and beds of 18th century France. Peasants cavort in bucolic landscapes decked out with flowers, all in the shadow of classical ruins. There is something surreal about these scenes, which float, disembodied in a world without gravity. I love the contrast between the ornate sensuality and frivolity of the scenes, and the incongruous setting. Often the 2nd and 3rd generation knock-offs catch my eye, especially those that project a sense of optimism, as though they long for a grander existence” –Beth Katleman
Beth Katleman was born in Park Forest, Illinois. She holds a BA in English from Stanford University, an MBA in Arts Management from UCLA and an MFA from Cranbrook. Her work is in many national collections, including the M.H. de Young Museum, San Francisco, CA, the John Michael Kohler Arts Center, WI, Kohler Company, WI and the Archie Bray Foundation, Helena, MT. She has had solo exhibitions in Barneys New York windows and Sybaris Gallery, Royal Oak, MI. She has shown in exhibitions at M.H. de Young Museum, Contemporary Jewish Museum, San Francisco, Garth Clark Gallery, Thomas Healy Gallery, Storefront for Art and Architecture, New York and the National Building Museum, Washington, D.C. She has had reviews in the New York Times, American Ceramics, New Art Examiner, and Sculpture Magazine. Her grants include a Mid-Atlantic Arts Foundation grant, Kohler Arts/Industry Fellowship, Watershed Generation X Award, and a residency in Cortona, Italy. Katleman lives and works in Brooklyn, New York.

Form Follows Food
2010-12-03 - 2011-01-06
Form Follows Food
December 3, 2010 – January 6, 2011
The Jane Hartsook Gallery is pleased to present form follows food, an invitational exhibition celebrating the fine art of pairing food and drink with the perfect vessel.
Each artist was invited to create a group of ceramics designed to enhance the delights of a certain type of food or drink – their choice. The results are as varied as the makers: from Marie Antoinette-inspired candy dishes to cozy pudding cups, festive popcorn bowls and lobster dishes, there is literally something here for every taste!
This special holiday exhibition and sale features new work by Nancy Bauch, Posey Bacapoulos, Leanne McClurg Cambric, Sanam Emami, Sarah Gross, Molly Hatch, Ayumi Horie, Janice Jakielski, Gail Kendall, Michael Kline, Gregg Moore, Brooke Noble, Lisa Orr, Zena Verda Pesta, Joe Pintz, Sara Paloma, Brenda Quinn, Tyler Speicher, Kala Stein, Sue Tirrell and Cynthia Vardhan.

One More Than Five, Resident Artists Exhibition
2009-12-03 - 2009-12-20
One More Than Five
Resident Artists Exhibition: Jordan Becker, Will Coggin,
Costain, Stacy Cushman, Kristen Wicklund, Nicki Ritchie
December 3 – 20, 2009

Everything is not as it seems, Jeanne Quinn
2009-01-08 - 2009-02-09
Everything is not as it seems
Jeanne Quinn
JANUARY 8 – FEBRUARY 5, 2009
“In Richard Wagner’s 1849 essay “The Artwork of the Future,” he presents the idea of the Gesamtkunstwerk: the complete work of art. I have always loved this idea of being able to create something sensually encompassing, as Wagner attempted with his own work. The decorative arts, referred to in German as Kunsthandwerk, in some sense have always provided the possibility for the total work of art. The decorative arts are the arts of domestic space and they surround us completely: textiles, wall coverings, carpets, furniture, lighting, vessels of all kinds, and every other thing that covers a wall or ceiling or floor or that we use in everyday life.”
“I like to think of my pieces as Gesamtkunsthandwerks, in which I attempt to combine multiples that reference traditionally decorative objects into sensually encompassing installations. In the decorative arts of the past, as well as contemporary installations, the viewer becomes a participant in, and actually enters in to the work of art. The Jane Hartsook Gallery at Greenwich House reads as a parlor space with its hardwood floors, marble fireplace, and tall windows. It provides a space to explore some of these ideas about the decorative arts, bridging the gap between public exhibition space and domestic space. For my exhibition, I have made a room-sized porcelain chandelier installation, alluding to the history of the space as a parlor and the decorative objects found there, but re-shaping these elements into a contemporary installation that references multiples, materiality, and the body.” -Jeanne Quinn, 2008
