Greenwich House

Ghada Amer, Trisha Baga, Robin Cameron, Joanne Greenbaum, Pam Lins, Alice Mackler and David Salle Exhibition
2015-02-27 - 2015-03-27 | NY
Ghada Amer, Trisha Baga, Robin Cameron, Joanne Greenbaum,
Pam Lins, Alice Mackler and David Salle
February 27 – March 27, 2015
The Jane Hartsook Gallery is pleased to present an exhibition bringing together for the first time the ceramics of New York City artists Ghada Amer, Trisha Baga, Robin Cameron, Joanne Greenbaum, Pam Lins, Alice Mackler and David Salle, into one exhibition. These artists highlight the artworld having found expression in clay – encapsulating the mood of the contemporary scene. All of these artists work out of the studios at Greenwich House Pottery, through class, a clandestine ceramics club or our residency program. Though the Pottery might be the thread binding these artists together there is a commonality in their expressive approach to material manipulation and a profound intrigue for color.
Figuration, abstraction, neo-expressionism and the postmodern are all represented in this exhibition. Each artist approaches the material with similar motivation, to exploit clay’s potential – bending the material to their will. Salle explores and his work documents the physicality of the material, pushing, pulling, pinching and tearing at the forms while Mackler uses the material as an expression of her inner impulse. The pure abstractions of Greenbaum are in-between, neither representative but not completely without grounding. Baga and Lins recreate actual objects, or in Baga’s case, persons. Their approach to the material expresses a real joy in exploration and creation. Cameron, whose work vacillates between the figure and the vessel, recycles the old to breathe life into the new. Amer’s works are representations of the figure in her case, the woman. Amer works within the tradition of functional forms made with vivid porcelain coloration. Regardless of the artist, color is a central theme among their works, that and an unbounded enthusiasm for material potential.
The groundswell of interest in ceramics now taking place is unprecedented and New York City is the epicenter. In addition to the numerous gallery and museum exhibitions around the city, our studios are filled with artists looking to expand their practice. These artists are exploiting clay’s expressive potential and have found a welcoming home in our studios. Whether making work for an upcoming solo exhibition in their respective gallery, or developing ideas for the Whitney Biennial, their activity has added to the culture, community and undoubtedly to the discourse of the field. At present this work is largely neoexpressionist and at odds with conceptual art, though not to imply that it is without meaning. It is raw, unmediated, irreverent and reverential. This art turns away from conceptualism to look inward, with the focus on itself and the medium.
GHADA AMER
(b. 1963, Cairo, Egypt) and emigrated at age 11 to France where she began her artistic training at Villa Arson in Nice. She lives and works in New York City, where she is represented by Cheim & Read Gallery and has had her work presented in numerous solo and group local exhibitions at Cheim & Read, Deitch Projects, the Whitney Biennial and the Brooklyn Museum of Art among several others. Internationally, she has shown her work widely, including at Biennales in Venice and Sydney.
TRISHA BAGA

(b. 1985, Venice, Florida) is an artist living and working in New York. She has had solo exhibitions at Vilma Gold Gallery in London, and the Kunstverein Munich, and has shown her work at Greene Naftali Gallery, EAI, PS1, Johann Koenig Gallery, Performa09, The Housatonic Museum, LAXART, and El Centro Cultural Montehermoso.
ROBIN CAMERON

(b.1981, British Columbia, Canada) is an artist based in New York, who is known for her books, prints and zines. In addition to a solo exhibition at Art Metropole in Toronto, her publications are available at Printed Matter and have been shown at the New Museum’s Resource Center. A comprehensive selection of her publications is held in the Library of the Museum of Modern Art.
JOANNE GREENBAUM

(b.1953 New York City) lives and works in NYC and Berlin. Her work has been included in many solo and group exhibitions in the United States and abroad. She has been reviewed in The New York Times, Art in America, Artforum, and Hyperallergic. Her awards include the Gwendolyn Knight Lawrence Award from the Academy of Arts and Letters in 2014, the Joan Mitchell Foundation Fellowship, the Guggenheim Fellowship, the Pollock Krasner Grant, and the NYFA Fellowship in Painting. She is represented by Rachel Uffner Gallery in New York, greengrassi in London, Shane Campbell Gallery in Chicago, IL, Nicolas Krupp Contemporary Art in Switzerland, Galerie Crone in Berlin, Germany, and Van Horn in Dusseldorf, Germany.
PAM LINS
(b. Chicago, Illinois) lives and works in Brooklyn, NY. Lins teaches at the Copper Union School of Art, Princeton University, and is on the faculty of Bard’s MFA program. Lins is represented by Rachel Uffner Gallery, NY. Lins has shown in the Whitney Biennial at the Whitney Museum of Art, the Tang Museum of Art and CCS Bard Hessel Museum of Art. Lins has received numerous awards including a Radcliffe Fellow at the Institute for Advanced Studies Harvard (2013), The Guggenheim Foundation (2008), the Howard Foundation Award in Visual Arts from Brown University (2007), and the Pollack/Krasner Foundation (1998). Lins has been reviewed in the New York Times, Art in America, Bomb Magazine, the New Yorker, and ArtForum.
ALICE MACKLER

(b. 1931, New York City) Mackler’s work was singled-out in reviews by Roberta Smith in the New York Times and Andrew Russeth in the New York Observer. Alice Mackler was also included in an article titled, “6 Artists Who Made It Big After Turning 70” by Julia Halperin in Blouin Art Info March 23, 2013. In 2013, she had her first solo exhibition at Kerry Schuss. She studied at the Arts Students League and received a BFA from the School of Visual Arts in New York.
DAVID SALLE

(b. 1952, Norman, Oklahoma) lives and works in Brooklyn. In 1970, he began his studies at the newly founded California Institute of the Arts in Valencia, where he worked with John Baldessari. After earning a BFA in 1973 and an MFA in 1975, both from CalArts, Salle moved to New York. Solo shows of Salle’s art have been organized by the Museum am Ostwall Dortmund (1986–87), Institute of Contemporary Art at the University of Pennsylvania in Philadelphia (1986–88), Stedelijk Museum in Amsterdam (1999), and Waddington Galleries in London (2003), among others. He has participated in major international expositions including Documenta 7 (1982), Venice Biennale (1982 and 1993), Whitney Biennial (1983, 1985, and 1991), Paris Biennale (1985), and Carnegie International (1985).

Matter of Time (affection, affliction), Jeremy Hatch
2015-04-10 - 2015-05-08 | NY
Matter of Time (affection, affliction)
Jeremy Hatch
Opening Reception | Friday, April 10, 2015 | 6:00 – 8:00 p.m.
Exhibition on view through May 8, 2015
The Jane Hartsook Gallery is pleased to present the New York solo exhibition debut of Jeremy Hatch. Hatch, an artist based in Montana, has done the unimaginable – cast a chain link fence. In this large-scale installation Hatch has reimagined the space into a porcelain virtuosic performance bisecting the gallery space with the fence weighted down with locks. During the exhibition, visitors will be able to add their own locks to the fence.
“‘Matter of Time’ (affection affliction) builds upon my use of the physical and psychological properties of porcelain as a means to explore themes of memory, relationships, nostalgia and failure. The installation consists of a cast porcelain chain-link fence running the length of the gallery and relies on viewer participation in order to complete the work. From a library of plaster molds, gallery visitors are invited to cast a lock, inscribe it, and attach it to the ceramic chain-link panels. At the conclusion of the exhibition, the fence and amassed locks will be fired, fusing the objects together, serving as a permanent record of the event.
Over the past decade the ritual of attaching ‘love locks’ to public bridges, fences, gates and other urban structures has become an international phenomenon. My interest lies in the inherent contradictions contained within this seemingly innocuous romantic gesture. The custom can also be seen as a form of destructive vandalism. Just as sections of historic bridges are collapsing under the weight of accumulated locks, my porcelain replica risks a similar fate. Rather than struggling to maintain a sense of security, it embraces the potential for failure and the realization that vulnerability is fundamental.”—Jeremy Hatch
Jeremy Hatch is currently Assistant Professor of Ceramics at Montana State University and founder of Ricochet Studio, a design lab that explores the intersections of art/craft/design by collaborating with artists from various disciplines. Hatch’s studio practice employs a variety of techniques and concepts linked to ceramics, from vessel-based sculpture to large-scale porcelain installations, digital and architectural applications. He has attended a number of international residencies including the Takumi Studio in Japan, the European Ceramic Work Center in the Netherlands, and Kohler’s Arts/Industry program in Wisconsin. Since 2003 he has led numerous courses and workshops that focus on industrial processes for ceramics: design and prototype production, mold-making, and slip casting.

GHP Artists Exhibition 2015
2015-05-21 - 2015-06-12 | NY
GHP Artists Exhibition 2015
Opening Reception | Thursday, May 21, 2015 | 6:00 – 8:00 p.m.
Exhibition on view through June 12, 2015
The Jane Hartsook Gallery is pleased to present the Annual Greenwich House Pottery Artists Exhibition. Each Spring we honor and celebrate the hundreds of talented individuals who sign up for class, prolifically make work, and bring vitality to our tight-knit clay community. The works on display are carefully selected by each artist, and represent their most successful piece or own personal favorite. A ceramic showcase this vibrant, varied, and vast cannot be found often!
“Being of ‘ancient vintage,’ I have a long corridor of memories to draw from. Since Jane Hartsook, I’ve experienced so many different directors, teachers, studio managers, assistants, and students. Within this stream, what has remained a constant is the essence of a warm and encouraging community. I’ve witnessed a stimulating exchange of ideas, the richness of diverse backgrounds and lives – all with the common denominator of an intense and passionate focus on clay.
The yearly exhibition of work done by the students has retained a vitality and scope of imagination that has been a source of great pleasure. The sheer trajectory of the work has been stimulating and impressive.
Working with clay these many years allowed me to bring along my involvement in the dance and music worlds. From each of these practices, I drew upon my intense interest in the reach and breath of a ‘line.’ This was not conscious, but a realization that came with the immersion in doing. I’m eternally grateful that I still have the strong desire to work with clay, and that Greenwich House Pottery exists where I and so many others have found a precious haven.”
– Lillian Miller 2015 – GHP Member

No Truth, No Lies, Andrea Clark
2015-07-09 - 2015-08-07 | NY
No Truth, No Lies
Andrea Clark
Opening Reception | Thursday, July 9, 2015 | 6:00 – 8:00 p.m.
Exhibition on view through August 7, 2015
The Jane Hartsook Gallery is pleased to present the recent works of Andrea Clark in her New York City solo exhibition debut. An artist originally from Kentucky, Andrea was selected by a three person panel to participate in Greenwich House Pottery’s ten month resident artist program. This exhibition showcases the work that she has produced during her time here. It highlights her delicate, varied ceramic experimentations in form, color, texture, and light. Over her tenure at GHP Andrea sourced materials and experimented with scale, surface, and technique to create some truly unexpected pieces.
“My current work concentrates on constructing objects out of folded paper painted with porcelain. Through this intricate process of making, I re-familiarize myself with the object. By reducing it to a permanent, solid, material form I seek to release the object’s immaterial essence. I perceive the end of my time at Greenwich House Pottery as the beginning of my experimentation with the essence of objects.” –Andrea Clark
Andrea Clark (b. 1990) received her BFA from the University of Kentucky in 2013. Clark has exhibited in Seattle, Cincinnati, Michigan, Kentucky, and the Netherlands.

GHP Faculty and Staff Exhibition 2015
2015-09-11 - 2015-10-02 | NY
GHP Faculty and Staff Exhibition
Opening Reception | Friday, September 18, 2015 | 6:00 – 8:00 p.m.
Exhibition on view September 11 through October 2, 2015
The Jane Hartsook Gallery is pleased to present a group exhibition showcasing the ceramic works of current Greenwich House Pottery faculty and staff. Approaching the ceramic medium from a wide range of sources and personal backgrounds, this collection is as varied and dynamic as its contributors.
Established educators in the arts, designers, and working artists, our instructors have been involved in numerous public works projects as well as residencies at Kohler, The Clay Studio, Archie Bray, Hunter College, and The Museum of Art & Design. Alma maters include Cranbrook, Yale, RISD, Pratt Institute, California College of the Arts, Alfred University and Emily Carr College of Art & Design.
GHP faculty and staff have been included in numerous solo and group exhibitions across the United States and abroad including the Whitney Museum, Museum of Art & Design, Guggenheim, Smithsonian Institute, Museum of Modern Art , Victoria Albert Museum, Seoul Metropolitan Museum of Art, and the NCECA Biennial.

A part of, a parting, Eun-Ha Paek
2015-10-09 - 2015-11-06 | NY
A part of, a parting
Eun-Ha Paek
Opening Reception | Friday, October 9, 2015 | 6:00 – 8:00 p.m.
Exhibition on view through November 6, 2015
Artist Talk | Thursday, November 5, 2015 | 3:00 p.m.
The Jane Hartsook Gallery is pleased to present the Solo Exhibition of Eun-Ha Paek. Eun-Ha harnesses humor through juxtaposing the familiar and the bizarre. Her works have a startling playfulness in spite of their preciousness. She is a visionary artist whose intimate sculptures elicit the uncanny.
“The same way a boulder on a hill stores potential energy, a banana peel on the floor is the setup to a joke, storing potential “ha-has”. The setup might cause a smirk, without any real action taking place. My work uses this potential to construct narratives on the precipice of the familiar and strange; to explore our inner workings of grief and hope with humor.” – Eun-Ha Paek
Eun-Ha Paek born in Seoul, Korea and lives in Brooklyn, NY. She received a BFA from the Rhode Island School of Design. Her animated films have screened in the Guggenheim Museum, Sundance Film Festival and venues internationally. Grants and awards include a Travel and Study Grant from The Jerome Foundation (2008) and the Anna Siok Award from Greenwich House Pottery (2014). Her work has received mentions in The New York Times, Entertainment Weekly and G4 Tech TV. She has been a guest lecturer at Rhode Island School of Design and Fashion Institute of Technology and a visiting critic at Maryland Institute College of Art.

Naomi Cleary & Perry Haas
2015-11-21 - 2015-12-18 | NY
Naomi Cleary & Perry Haas
Opening Reception | Friday, November 21, 2015 | 5:00 – 7:00 p.m.
Exhibition on view through December 18, 2015
The Jane Hartsook Gallery is pleased to present the two-person Exhibition of Naomi Cleary & Perry Haas. This exhibition highlights the eclecticism prevalent within the field of contemporary ceramics.
Cleary uses the industrial process of mold making and casting to create replicas of existing objects. Repeating form time and again. Cleary’s expression comes through her drawing and layering of the surfaces, creating colorful abstract patterns and recognizable imagery. Her drawings unfold on the interior and exterior of the porcelain forms.
Haas creates one-off forms on the potter’s wheel. Each piece documents the subtleties of its making. Furthering this Haas uses wood firing that leaves the flame, ash and time to develop the ceramic surface. While Haas has shown himself to be knowledgeable of the firing process, there is still a fair amount of chance as to how each piece will evolve in the kiln. Their separate approach to pottery comes from seemingly irreconcilable positions, but oddly the pairing opens a space to consider their similarities.
Naomi received a BFA from The University of the Arts, Philadelphia PA in 2002 and an MFA in 2007 from The Ohio State University, Columbus OH, returning to Philadelphia in early 2008. Currently, she is the Associate Director of Retail and Marketing at the Clay Studio in Philadelphia.
Perry has held residences in Missoula, Montana and in Guldagergaar, Denmark. He has been awarded the Young Wood Fire Artist Award of 2014 at the European Wood Fire Conference. Currently Perry is a resident at The Archie Bray Foundation, in Helena Montana.

More Possibilities for Distance and Mass, Mathew McConnell
2016-01-08 - 2016-02-05 | NY
More Possibilities for Distance and Mass
Mathew McConnell
Opening Reception | Friday, January 8th, 2016 | 6:00 – 8:00 p.m.
Exhibition on view through February 5, 2016
One-Day Workshop | Friday, February 5, 2016 | 10:00 a.m. – 4:00 p.m.
The Jane Hartsook Gallery is pleased to present the New York City solo exhibition debut of Mathew McConnell. An Arkansas-based artist, McConnell is a provocateur, engaging a dialogue of appropriation, originality and authenticity almost entirely outside the purview of the ceramics sphere. A cerebral artist, McConnell’s approach to art is analytical and pragmatic using others art as a catalyst for his own.
“My current investigations are based on the works of other visual artists. Often using a singular form or image as a starting point, I recreate the work with alterations to suit my own compositional needs. The resulting forms vary between what could be mistaken as a facsimile of another artist’s work and an artwork with a source seemingly outside any individual reference.
In the construction of these replicant objects, I sometimes find myself trying to pinpoint the exact moment at which the work becomes more mine than theirs. Sometimes this moment occurs in the mere selection of a form, and at other times it does not occur at all. By careful construction of these simulated, manipulated, exalted, and subverted forms, I find, at the best of times, a means of reconciling the difference between what is an art of someone else’s and what is an art of my own.” – Mathew McConnell
Mathew McConnell (b. 1979, Johnstown, PA) holds an MFA from the University of Colorado, Boulder, and a BFA from Valdosta State University in Georgia. He has held numerous solo exhibitions and his works have been included in group exhibitions in China, Australia, New Zealand, and in many venues across the United States. In 2012, Mathew was granted an “Emerging Artist” award from the National Council on Education in Ceramic Art. He has also been a resident at the Archie Bray Foundation, Watershed Center for the Ceramic Arts, and was Artist in Residence and Guest Lecturer of Contemporary Craft at Unitec in Auckland, New Zealand. His work was recently the subject of a profile in the publication Ceramics: Art and Perception. He is currently serving as an Assistant Professor at the University of Arkansas, where he oversees the ceramics area.

Svend Bayer
2016-02-18 - 2016-03-19 | NY
Svend Bayer
Opening Reception | Friday, February 19, 6:00 – 8:00 p.m.
Exclusive Viewing and Sale | March 25 & 26, 11:00 a.m. – 6:00 p.m.

The Jane Hartsook Gallery is pleased to present the New York City solo exhibition debut of Svend Bayer. Bayer is one of the most influential potters in England, consistently making pots of enormous generosity in form and feeling. A deeply reflective potter, Bayer uses tradition as a starting point for making pottery that is deeply thoughtful and introspective. Over the last 40 years, he has refined form, glaze and fire into the extraordinary. This exhibition marks the first time a large collection of his works will be on view to a United States audience.
“I think a good pot, it has to reveal something about the maker. What you find in it is actually not so different than you would hope to find in another person. You would hope to find sort of life and a kind of response – it’s a rightness. I think it is important that you would want to touch it, to hold it. I used to think that there had to be evidence of good craftsmanship. I’m not sure about that anymore; in fact I don’t think it really matters. I think that craftsmanship is simply a tool which enables you to express yourself.”—Svend Bayer
Svend Bayer was born in 1946 in Uganda to Danish parents. He attended Exeter University, was a pupil of Michael Cardew, and worked as a thrower at Brannam’s Pottery. In the 1970’s Svend established his own pottery facility at Sheepwash in Devon with kilns based on structures he encountered during his year-long travels in Japan, South Korea, and South East Asia. The site was chosen for the proximity to the North Devon ball clay mines and sawmills. Since 2000 he has had solo exhibitions at Harlequin Gallery, Beardsmore, Rufford Ceramics Centre, North Cornwall Gallery, University of Utah, Northern Clay Center, Sturt Gallery, Gallery Lykke, Slader’s Yard, Goldmark Gallery, and the Craft Potter’s Association, London.
In conjunction with his exhibition, Svend Bayer will be conducting a one-day demonstration workshop at the Pottery, Saturday, February 20, 2016 from 10:00 a.m – 5:00 p.m.

Paul Sacaridiz
2016-04-08 - 2016-05-06 | NY
Paul Sacaridiz
Opening Reception | April 8, 2016 | 5:00 – 7:00 p.m.
Exhibition on view through May 6, 2016
The Jane Hartsook Gallery is pleased to present the New York City solo exhibition debut of Paul Sacaridiz. Sacaridiz is at a place in his practice where his skills and intellect collide. Taken on their own Sacaridiz’s objects bear no resemblance or connection, but placing disparate components into close proximity his art intimates a cohesive narrative. Individually these are hermetic sculptures whose power grows in relationship to the other works, making their interest grow where otherwise only formal concern might reside.
“The problem with objects is that they can be so specific…I am interested in the collision of abstraction, urban planning and utopian systems; and the seemingly impossible task of understanding something in its entirety. My work carefully situates objects within systems that seem to imply an internal logic, but at the same time appear illusive and open-ended. Structures carefully frame out objects that appear random and chaotic alongside precise mathematical models and awkward structural forms… highly constructed, layered and insistent on being understood for what it is, rather than as placeholder for metaphor or illusion.”
—Paul Sacaridiz
Paul Sacaridiz (b.1970) lives and works in Deer Isle, Maine where is Executive Director of the Haystack Mountain School of Crafts. As an artist his work encompasses the making of sculpture and leadership within academic and not for profit arenas. His work has been included in exhibitions at the Charles Allis Art Museum, the Philadelphia Museum of Art, the Denver Art Museum and the Houston Center for Contemporary Craft among others. He has been the recipient of numerous artist residencies including the Ragdale Foundation, Vermont Studio Center, Watershed Center for the Ceramic Arts and the Arts/Industry Program at Kohler Company. He is a member of the International Academy of Ceramics and has served on the board of the National Council on Education for the Ceramic Arts (NCECA). Prior to leading Haystack he was Professor and Chair in the Department of Art at the University of Wisconsin-Madison.

Ceramics Now, 2016
2016-07-14 - 2016-08-11 | NY
Installation view of Ceramics Now, 2016. Photo: courtesy of Greenwich House Pottery. Photographer: Alan Wiener.
Ceramics Now
Giselle Hicks, Margaret Lanzetta, Sheila Pepe and Halsey Rodman
July 14 – August 11, 2016

The Jane Hartsook Gallery is pleased to present, Ceramics Now, a group exhibition featuring Giselle Hicks, Margaret Lanzetta, Sheila Pepe and Halsey Rodman. The art in this exhibition represents the body of work created during their short-term residencies at Greenwich House Pottery. The exhibition, bringing together these artists for the first time, examines their respective idiosyncratic approaches to the material.
The Residency and Fellowship Program is designed to support artists and their projects. At GHP we offer artists a chance to learn from clay in a direct way and to foster connections between artist, material and the larger ceramics community. Ultimately, these efforts introduce more artists to the pleasure of clay and new perspectives that ceramics uniquely provides. At the Pottery we facilitate relationships where artists can come together to work out ideas and create a new body of work through in-depth involvement in a social sphere rich in history, culture, expertise and ideas. Community and collaboration at the Pottery are cultivated through discussions between faculty, students, staff as well as immersion in the Pottery’s West Village Community. Our goal is to strengthen our relationship to communities and to nurture creative work within them.
Margaret Lanzetta, Sheila Pepe and Halsey Rodman are New York-based artists known for their art in other disciplines. Their time spent as Residents was used to familiarize them with the material and to produce a body of work that they would otherwise not be able to see through to fruition. These artists were given time, space and technical assistance to actualize their ideas. Giselle Hicks, an artist living in Helena, Montana, was this year’s Fellow. Her time in residence was used to expand upon and produce an entirely new body of work. The fellowship allowed her the time and space within New York City to work but also to be part of the diverse and vital community we have to offer.

Meditations on an Unending Line, Lilli Miller
2016-09-09 - 2016-09-30 | NY
Meditations on an Unending Line
Lilli Miller
September 9 – 30, 2016
The Jane Hartsook Gallery is pleased to present ceramic work by Lilli Miller. Diligently working in clay since 1952, this exhibition demonstrates a lifelong, extensive practice exploring the ceramic vessel. Previously studying dance and music, Lilli Miller translates similar modes of harmony, repetition and balance towards the manipulation of clay forms. She finds a likeness between these exercises, as they all provoke a meditative practice. Her variation of size, shape and color express a search for tranquility and beauty. Working with clay at Greenwich House Pottery for over 60 years, she communicates that the place has always been a “precious haven” to her and for her work.
“As a young modern dancer, I was often preoccupied with how to achieve and extend an unbroken line moving through space. Years later, studying the cello with my remarkable teacher, Barbara Mallow, I understood that the same principle applied: how to give the musical line breath and continuity so as to achieve the deepest expressiveness.
And so, what I look for in my pots, and hope the best of them achieve, is that they grow and breathe – that their forms travel into space and their rims move like the planets, endlessly.” – Lilli Miller, 2016
Lilli Miller was born in 1921 in New York, New York. At a young age she was exposed to the arts through the University Settlement House in the Lower East Side. While studying at Brooklyn College, she received a scholarship from the New Dance Group to study the Graham Technique. Miller danced professionally with Anna Sokolow and Jean Erdman and also danced at the Yiddish Theatre on 2nd Street. In 1945 she married Joseph Miller, eventually discovering Greenwich House Pottery. Beginning on the wheel, Miller gravitated to hand-building where she continues to devote ample amounts of energy for her ceramic work today.

Saddle Up, Dorodango, Anika Schwarzwald and Samuel Stewart-Halevy
2016-10-07 - 2016-11-04 | NY
Saddle Up, Dorodango
Anika Schwarzwald and Samuel Stewart-Halevy
Opening Reception | October 7, 2016 | 5:00 – 7:00 p.m.
Exhibition on view through November 5, 2016
Anika Schwarzwald and Samuel Stewart-Halevy are architects who have long been fascinated by the materials and procedures of ceramic work. In Saddle up, Dorodango, they have tracked the sediments of the earth’s crust into the specialized and highly technical realm of industrial ceramics. Here they have discovered previously unimaginable forms and functions and an expanded array of possibilities for a material that has always been plastic in nature. They hope to understand what remains universal about clay matter once it passes into these unfamiliar states and through the global supply chains of contemporary ceramic production. Anika is a designer of cultural, educational and public building projects at Studio Gang in New York. Samuel is pursuing a doctoral degree in the history and theory of architecture at Columbia University.

Future Archaeology, Bryan Czibesz and Shawn Spangler
2017-02-17 17:00 - 2017-03-17 18:00 (America/New_York) | NY
Installation view, Future Archaeology, 2017. Photo: courtesy of Greenwich House Pottery. Photographer: Alan Wiener.
Future Archeology
Bryan Czibesz and Shawn Spangler
February 17 – March 17, 2017
Future Archaeology is a collaborative two person exhibition with Bryan Czibesz and Shawn Spangler. Together, they assemble human and machine-made vessels by utilizing the potter’s wheel and a custom 3D printer. Czibesz and Spangler draw inspiration from archaeological vessels. They reinvestigate these forms with their own wheel or 3D printer as a way of integrating objects into a new context. The aesthetics of Czibesz and Spangler’s work echo their creative methods and tools for production – altogether presenting fluidity, geometry and precision.
Both the potter’s wheel and ceramics 3D printer function as fresh tools of invention, bringing undiscovered opportunities for the material. For Czibesz and Spangler, their tools become an extension of themselves. Czibesz fabricates and customizes his 3D printer, instructing the machine how to mold the clay with digital scans, designs and alterations. Spangler uses the potter’s wheel as an efficient, tangible method for forming vessels. His manipulation of the material leaves impressions on the clay. With this unification of two contrasting tools, Czibesz and Spangler demonstrate the intersection between past human activities and cultural materials of the future. Spangler states “we bestow these objects with the power to narrate our experience…” guiding us to locate “where we once were and where we are going.” Together, they question authorship, explore artifacts and present us with dazzling emblems of this process.
Bryan Czibesz earned his MFA from San Diego State University and has shown his work at the Samuel Dorsky Museum of Art, the Riga Porcelain Museum and the Ceramics Annual at Scripps College. He has been an Artist-in-Residence at The International Ceramics Studio in Kecskemet, Hungary, c.r.e.t.a. Rome, the Clay Studio in Philadelphia and the University of Hawaii at Mānoa. He is currently Assistant Professor of Art in Ceramics at SUNY New Paltz.
Shawn Spangler holds an MFA degree from Alfred University in NY and has been an Artist-in-Residence in Jingdezhen, China, Watershed Center for Ceramic Arts and the Clay Studio in Philadelphia. Spangler is a founding member of the artist collective, Objective Clay and currently serves as Assistant Professor of Art at the University of Hawaii.
Czibesz and Spangler have previously collaborated for exhibitions at Houston Center for Contemporary Craft in Houston, TX, The Center for Craft, Creativity & Design in Ashville, NC and the United States Department of State in Karor, Palau.

Déesse Terre, Ghada Amer
2017-04-06 17:00 - 2017-05-07 18:00 | NY
Installation view of Déesse Terre, 2017. Photo: courtesy of Greenwich House Pottery. Photographer: Alan Wiener.
Déesse Terre
Ghada Amer
Exhibition on view April 6 through May 17, 2017
Ghada Amer’s solo exhibition Déesse Terre was produced during an intensive three-month artist-in-residence at Greenwich House Pottery.
“There is no precedent for Ghada’s ceramics beyond her own body of work. Since the 1970’s, Figurative art has experienced a renascence in the ceramics’ sphere. Ghada’s large wall hangings are undulating curvilinear forms with raised rounded edges framing the image. These ‘ceramic paintings’ contain portraits of women made bright with color and fierce through their rugged organic forms. These pieces grew in size and formal complexity, one might say, anticipating her sculptures. The sculptural work, zigzagging freestanding slabs she developed are far more conscious of their arrangement. They reference her paintings torn from their stretchers, folded and crumpled. These brilliant and imposing slabs are viewable in the round necessitating larger figures and subsequently more developed narratives.”
Ghada Amer is an American artist, born in Egypt, living and working in New York City. Amer received her MFA in the arts at Villa Arson in Nice, France. She has been featured in many major exhibitions worldwide with solo exhibitions at the Brooklyn Museum of Art; Musee d’Art Contemporain de Montreal; and the Museo d’Arte Contemporanea Roma, Rome among others. She was included in major group exhibitions at Gwangju Museum of Art, South Korea; and the Museum of Modern Art New York, and PS1. Amer has also exhibited in the Venice Biennale, the Sydney Biennale and the Whitney Biennale. Amer’s works are part of major public collections such as Centre Pompidou, Paris; Art Institute of Chicago; Detroit Institute of Art; Mathaf, Doha; Samsung Museum, South Korea; and Guggenheim Abu Dhabi.
Ghada Amer is represented by Cheim & Read in America, Kukje in South Korea and Goodman Gallery in South Africa.

Ceramics Now 2017
2017-07-21 17:00 - 2017-08-18 18:00 | NY
Ghada Amer, Study for a Black Sculpture On a Blue Base, glazed ceramic, 7 3/8 x 2 ½ x 5 ¼ in. 18.7 x 6.4 x 13.3 cm., 2017. Photo: courtesy of Greenwich House Pottery. Photographer: Alan Wiener.
Ceramics Now
Ghada Amer, Judy Hoffman, Alice Mackler, Ellen Robinson
Opening Reception | July 21, 2017 | 5:00-7:00 p.m.
Exhibition on view through August 18, 2017
The Jane Hartsook Gallery is pleased to present work by Ghada Amer, Judy Hoffman, Alice Mackler and Ellen Robinson exhibiting their research as Artist-in-Residence at Greenwich House Pottery. The residency at GHP is a distinguished program offering artists an environment to explore and generate new bodies of work in ceramics.
Ghada Amer returned this year to complete her second residency at GHP, spending rigorous hours in the studio and developing a tactile expertise with clay. Using this knowledge, she generated a body of ceramic sculptures, both large-scale paintings and miniatures, thoroughly investigating the marriage between the sensual nature of clay and her message of female empowerment. She continues to cultivate this theme further, bridging the span between her painting and ceramic work.
Ghada Amer is an American artist, born in Egypt, living and working in New York City. Amer received her MFA in the arts at Villa Arson in Nice, France. She has held solo exhibitions at the Brooklyn Museum of Art; Musee d’Art Contemporain de Montreal; and the Museo d’Arte Contemporanea Roma, Rome among others. Ghada Amer is represented by Cheim & Read in America, Kukje in South Korea and Goodman Gallery in South Africa.
With a studio practice that reflects the characteristics of her work, Judy Hoffman took full reign in experimenting with new forms, parts and surfaces, creating a database of urban, organic sculptures. Hoffman meticulously organized shapes and surfaces from this playful chaos. Her sculptures are constructed by assembling these individual parts. Hoffman utilized the residency as a place to focus and reflect, dedicating time to technical problem solving and conceptual evolution. As a result, her work presents a dream of playful environments that are other-worldly, lively, biological and urban.
Judy Hoffman is an American artist living and working in Brooklyn, New York. Hoffman attended the New York Studio School and received her BA from Grinnell College in Iowa. She is a recipient of grants from the Women’s Studio Workshop and the Brooklyn Arts Council. Her work has been included in Sculpture Magazine and the New York Times. She has exhibited in numerous exhibitions including the Museum Frauenkultur, in Fürth,Germany and Bric House in New York, NY.
During her residency, Alice Mackler created female figures vibrant in color and grotesque in texture. Mackler immersed herself in the work, connecting instinctually with the tactility of the material. Her background in painting informs her eye for color and source of expression. The residency provided her with the opportunity to further develop eccentric forms and radiating surfaces. Experimenting with scale, Mackler challenged herself to move beyond her 12 inch tall figures, doubling their size. Mackler continues to allure viewers with the quizzical nature of her ruby-lipped females, communicating a body language that is their own.
Alice Mackler is an American artist born in 1931 in New York and received her BFA from the School of Visual Arts in New York. Mackler has exhibited in the group exhibitions Unorthadox at The Jewish Museum, New York, NY, The Avant-Garde Won’t give Up: Cobra and its Legacy, at Blum & Poe, Los Angeles, CA and Gardens of the Pure at MOCA Tucson. She has also held solo exhibitions at the Independent Art Fair and Kerry Schuss Gallery in New York, NY, 2017. Alice Mackler’s work will be included in the upcoming book from Phaidon, Vitamin C: Clay and Ceramic in Contemporary Art.
Ellen Robinson’s residency served as a place of quiet contemplation for textural assemblages and soft surfaces. Her invented constructions, at first glance, pass as organic natural forms, but further looking reveals these forms as abstractions of those ideas. Yet, Robinson transforms these associations into objects full of dichotomies and contrasting impressions. The work invites either a quiet or intense response through her use of monochromatic tones and whimsical arrangement. During the residency, Robinson was able to explore a variety of surface treatments and assemblage choices, working through new forms and ideas.
Ellen Robinson is an American artist living and working in Brooklyn, NY. She received her MFA from the School of Visual Arts in New York, NY, where she began working in ceramics. She has been an Artist-in-Residence at the Henry Street Settlement and has shown her work at galleries such as Alona Kagan Gallery in New York, NY, One Main Street Gallery in Buffalo, NY and Diamantina Gallery in Brooklyn, NY.

Teapot
2017-09-09 17:00 - 2017-10-06 18:00 | NY
Teapot
A National Juried Exhibition
Opening Reception | Friday, September 9, 2019 | 5:00 – 7:00 p.m.
Exhibition on view through October 6, 2017
The Jane Hartsook Gallery is pleased to present Teapot, A National Juried Exhibition with works selected by juror, John Neely. Neely’s selections demonstrate the plethora of inventive approaches to creating a teapot and the object’s adaptable nature, inviting the most eccentric or subtle changes to form. The teapot, a device designed for brewing and serving tea serves as a sacred participant in the Japanese tea ceremony and a symbolic element for Victorian era upper class society. It is also an object of fetishism, expression and iconography, a truly versatile object. When covered with extravagant embellishments, it is highly collectible kitsch or a political statement or both. The maker can imbue the teapot with a narrative that adds context to the form as a means of communication. Artists in this exhibition expand our experience of a teapot’s function and the possibility of surprise through elaborate and decorative deviation.
Creating a teapot often requires attention to how the object moves or is handled during use, engaging a curiosity for how to adapt construction and invention. The works in this exhibition are a result of those skills, trial and error, experimentation and tenacity. For utilitarian teapots, this might pertain to how the belly of the form contains tea or how it transitions through and out of the spout. For non/semi-functional teapots, movement is emphasized more through design, textural curiosity and/or conceptual fascination. As a result, artists see to fruition teapots with wood-fired surfaces, representations of nature, decorative pattern-making and
implications of humor.
Exhibiting artists include Posey Bacopoulos, Hayne Bayless, Jim Budde, Todd Burns, Mary Elizabeth Cotterman, Scott Dooley, Christopher Drobnock, Stephen Heywood, Steve Hilton, Jamie Kirkpatrick, Chris Pickett, Louis Reilly, Taylor Robenalt, Meryl Ruth, Josh Scott, Nathan Willever, Tripti Yoganathan and Dan Zulawski. Featured image is courtesy of Chris Pickett.
John Neely is the Professor of Ceramics at Utah State University and is an accomplished ceramicist having presented his work in over 100 domestic group exhibitions as well as solo and international exhibitions which include China, Korea, Australia, Japan, New Zealand and Yugoslavia. John has lectured and conducted workshops at the International Woodfire Conference in Flagstaff, AZ; Functional Ceramics Workshop in Wooster, OH; Utilitarian Clay Conference in Arrowmont, TN; Mendocino Arts Center in Mendocino, CA, and the Experimental Porcelain Workshop in Jingdezhen, China. He will provide a one-day workshop in conjunction with Teapot on Friday, September 8, 2017 at Greenwich House Pottery, New York, NY.

Vibrant Things, Andrew Casto, Evan D'Orazio, Hilary Harnischfeger
2017-10-19 17:00 - 2017-11-17 18:00 | NY
Hilary Harnischfeger, Diana ceramic, paper, hydrostone, mica, pigment, druzy quartz, wood, 17.5″ x 27.5″ x 11″, 2016. Photo: courtesy of Greenwich House Pottery. Photographer: Alan Wiener.
Vibrant Things
Andrew Casto, Evan D’Orazio, Hilary Harnischfeger
Curator: Aimee Odum
October 19, 2017 – November 17, 2017
The Jane Hartsook Gallery is pleased to present Vibrant Things, a three person exhibition featuring Andrew Casto, Evan D’Orazio and Hilary Harnischfeger, curated by Aimee Odum. Undertaking the near-impossible and intricate task of absorbing the world around them, the artists transform ephemeral events from their environment into tangible and vivacious ceramic assemblages. Each creates their own distinct aesthetic using layers of clay slip, encrusted hydrostone or brightly colored ceramic mounds. Casto, D’Orazio and Harnischfeger are influenced by geological processes, banal spaces or personal moods or relationships. They channel day-to-day experiences into objects that preserve the gestures that made them, giving these static forms a sense of movement. Vibrant Things connects these lively ceramic forms with stress, humor and memory – provoking us to evaluate the forces that shape us.
Andrew Casto’s forms are loosely structured branches that seem to divide infinitely, rising and gracefully melting into their own formations. Casto builds strata with soft hues and flecks of gold that flow over mounds of fluid slip and glaze. He extracts a visual language from geological processes like erosion, linking these dynamic changes to the repercussions of stress and how it shapes us physically, mentally and emotionally. Creating a tempo with his work, Casto repeats and evolves each ceramic form, relating these transformations to our fluctuating surroundings.
Casto presented solo exhibitions at Galleria Salvatore Lanteri (Milan, Italy); and Mindy Solomon Gallery (Miami, FL). His work has been included in national and international group exhibitions at Puls Contemporary Ceramics (Brussels, Belgium); Patricia Swaton Gallery (Oakland, CA); Gallery 8 and Cynthia Corbet Gallery (London, UK); and Sight Unseen Offsite for Design Week (New York, NY). His work is in numerous permanent collections such as the Regidoria de Cultura (El Vendrell, Spain); The Arizona State University Museum of Art Ceramics Research Center (Tempe, AZ); and The Archie Bray Foundation (Helena, MT). Casto currently serves as the Assistant Professor of Art in Ceramics at The University of Iowa. He received his MFA from the University of Iowa and is represented by Mindy Solomon Gallery in Miami.
Evan D’Orazio’s objects serve as actants for his interests, identity and physical and mental stress. Through a cathartic process, the work become manifestations of D’Orazio’s anxieties as he piles, throws and manipulates clay into heaps, often resembling debris. D’Orazio brings lightness to his work by incorporating colors of the 1980s and processed and artificial foods. Bright, saturated surfaces act as a counter response to his negative day-to-day experiences. The objects pulsate with a sense of liveliness and humor, pushing and pulling the viewer through D’Orazio’s responses to his daily routine.
D’Orazio has held solo exhibitions at Morpho Gallery (Chicago, IL) and Pleasant Street Gallery (Dekalb, IL). He has been invited to show his work in group exhibitions at Forum Gallery (Bloomfield Hills, MI); Museum of Contemporary Art (Detroit, MI); Galleria Salvatore Lanteri (Milan, Italy); Palazzo Cisterna (Turin, Italy); and Morpho Gallery (Chicago, IL). D’Orazio currently lives and works in Ferndale, MI. He received his MFA from The Cranbrook Academy of Art (Bloomfield Hills, MI).
Perceptive of the subtleties in her environment, Hilary Harnischfeger uses spaces and events to inform her raw, yet intricate forms. Mounted on the wall and in the round, the works are filled with dichotomies, acting as a truthful, yet mystical memory of her surroundings. Harnischfeger’s process involves taking molds of objects from her daily life and casting their likeness in hydrocal, further pairing them with colored porcelain, minerals and handmade paper. She finds inspiration from the architectural maquettes of German Expressionist, Hermann Finsterlin, her children’s interest in animated cartoons and a broken cliff face. Both entrancing and quiet, the objects act as passages for us to understand our own environments in a way that is fleeting, yet grounded.
Harnischfeger has had solo exhibitions at Rachel Uffner Gallery (New York, NY); American University Museum (Washington DC); Halsey McKay Gallery (East Hampton, NY); Neverwork (New York, NY); and Moody Gallery (Houston, TX). She has participated in numerous group exhibitions, among them shows at Cleveland Museum of Art (Cleveland, OH); MOCA Cleveland (Cleveland, OH); James Cohan Gallery (Shanghai, CH); James Fuentes (New York, NY); and Grimm Fine Art (Amsterdam, NE). Selected press includes reviews by Jerry Saltz in New York Magazine and Roberta Smith in The New York Times, among others. Harnischfeger lives and works in Brooklyn, New York. She received her MFA from Columbia University and is represented by Rachel Uffner Gallery, New York.

Naomi Dalglish and Michael Hunt
2017-12-02 17:00 - 2017-12-22 18:00 | NY
Yunomi, ceramic, 2017. Photo: courtesy of Greenwich House Pottery. Photographer: Alan Wiener.
Naomi Dalglish and Michael Hunt
Opening Reception | Saturday, December 2, 2017 | 5:00 – 7:00 p.m.
Exhibition on view through December 22, 2017
The Jane Hartsook Gallery is pleased to present new work by Naomi Dalglish and Michael Hunt of Bandana Pottery. Dalglish and Hunt are uniquely involved in their artistic process and that deep connection is evident in the lively character of their wood-fired utilitarian pottery. Their work is raw and yet refined, similar to buncheong ware but more gestural than those 14th century ceramics. That white-slip-decorated ware was prized for its wit and candor — qualities Dalglish and Hunt’s work shares — but where the decoration on the Korean ware is detailed, Dalglish and Hunt’s is free form. They carve, brush and run their fingers through the slip on their vessels, creating pottery with a presence to match its predecessors but with a contemporary aesthetic. Dalglish and Hunt’s work is remarkable for its enigmatic quality, which gives the user the impression that the soul of the clay is revealed in each one of these handcrafted vessels.
Dalglish and Hunt are able to bring their warm, charismatic ceramics to life because of their dedication to their making process. They source their clay from local deposits in North Carolina. Processing the raw clay is labor intensive and the artists spend days screening, mixing and drying it before they can use it. They form their vessels: carving trays from solid blocks of clay, slumping plates over plaster molds or paddling wheel-thrown cylinders into rectangular vessels. Dalglish and Hunt wood-fire their work in a kiln they built in 2003. It is modified from a Thai kiln design that mimics the shape of a flame. In order for the kiln to reach the desired 2350 degrees Fahrenheit, they stoke the chamber with wood for up to 20 hours – a demanding task that requires precision, timing and attentiveness. This commitment to their work is what enables Dalglish and Hunt to create utilitarian ware that is as lively as it is functional.
Naomi Dalglish and Michael Hunt live and work in the mountains of western North Carolina where they collectively operate Bandana Pottery. They both studied ceramics at Penland School of Craft in Penland, NC. Dalglish received her BA from Earlham College in Richmond, IN and has studied with potters in Tlayacapan, Mexico. Hunt’s education includes the comprehensive research of traditional kilns and potteries in South East Asia including an apprenticeship with Onggi potter Oh Hyang Jong in Kwangju, Korea. Dalglish and Hunt have built wood kilns in North Carolina,Pennsylvania and Virginia and taught workshops at Haystack Mountain School of Crafts (Deer Isle, ME); the Craft Guild (Dallas, TX); and the North Carolina International Woodfire Conference (Star, NC). Dalglish and Hunt exhibit their work widely, including at the Korean Cultural Center (Washington, DC); Northern Clay Center (Minneapolis, MN); Schaller Gallery (St. Joseph, MI); Wayne Center for the Arts (Wooster, OH); The Clay Studio (Philadelphia, PA); Southwestern University (Georgetown, TX); Red Lodge Clay Center (Red Lodge, MT); and AKAR Design Gallery, (Iowa City, IA).

A.M. Martens
2018-01-12 17:00 - 2018-02-16 18:00 | NY
From Within We See (detail), porcelain, wood, dimensions variable, 2018. Photo: courtesy of Greenwich House Pottery. Photographer: Alan Wiener.
A.M. Martens
Opening Reception | Friday, January 12, 2018 | 5:00 – 7:00 p.m.
Exhibition on view through February 9, 2018
The Jane Hartsook Gallery is pleased to present new work by A.M. Martens. In her artwork, Martens uses everyday objects and spaces to reveal the inner structures that shape our individual points of view. In this installation, Martens uses imagery and personal recollections from exploring construction sites with her family as a child to consider the way experiences and relationships shape us and the way memory can be a window into our subjectivity.
In the wall-mounted works, Martens invites us to think about how our recollections, however factually incorrect, can illustrate personal truths. These slabs are fractured re-creations of a photograph of Martens and her sister at the construction site of their family home. The image captured a moment Martens did not know she had misremembered until re-discovering the photograph years later. She realized her memory of it described her connection to her family members better than it did the moment captured in the photograph. Martens made these slabs by screen-printing the picture onto drywall using oxide washes, putting the drywall onto a clay slab and then glazing the work in its entirety. The drywall cracks in the heat of the glaze firing, changing the original image, similar to the way Martens’s memory was distorted over time.
Martens expands on this idea in her installation of wooden beams and porcelain nails. Struck by the novelty of being able to move through unfinished walls when she explored building sites as a child, Martens has reimagined these internal spaces as a liminal place between events and our internalization of them. Experiences and relationships accumulate, shaping our identities and daily lives even though we do not actively think about the way this happens. Martens likens this to the way that nails surround us, holding together the buildings we live and work in, despite how little thought we give them. By making facsimile nails out of porcelain instead of using common steel nails, Martens encourages us to think about the way seemingly inconsequential moments are valuable parts of our perspectives. Like the structure of a home, our interpersonal interactions shape our understanding of the world and are the foundation of who we are.
Martens grew up in South Dakota, which continues to inform her artistic process. She began creating installations while obtaining her MA in Studio Art at Minnesota State University, Mankato. Martens continued her education at Michigan State University where she was awarded a University Distinguished Fellowship and obtained an MFA. After graduating she became the Ceramics Artist in Residence at Kansas State University. Martens has exhibited her work throughout the United States including at Axis Gallery (Sacramento, CA); Gallerie Noir (Dallas, TX); Red Lodge Clay Center (Red Lodge, MT); Schacht Gallery (Saratoga, NY); Sculpture Center (Cleveland, OH); and Sullivan Galleries (Chicago, IL). She currently lives in Chicago and is the Ceramics Studio Manager at the School of the Art Institute of Chicago.

Fused, Daniel Bare
2018-02-23 17:00 - 2018-03-23 18:00 | NY
Merge (number 3), post-consumer found ceramic objects, porcelain, glaze, Ni/Cr wire, steel, 14″ x 12″ x 13″, 2018. Photo: courtesy of Greenwich House Pottery. Photographer: Alan Wiener.
Fused
Daniel Bare
Opening Reception | Friday, February 23, 2018 | 5:00 – 7:00 p.m.
Exhibition on view through March 23, 2018
The Jane Hartsook Gallery is pleased to present new work by Daniel Bare. Bare’s sculptures are a critique on the wastefulness of American consumerism. He collects unwanted pottery from thrift stores, landfills and abandoned kiln sites and assembles them into stacks that often seem posed on the brink of collapse. Highlighting the uniformity of mass produced goods, Bare stacks similar items together making it seem as though they are replicating of their own accord. Other forms are more organic, resembling marine landscapes or waves of discarded consumer goods poised to overwhelm the viewer.
Bare creates his sculptures by stacking the mugs, plates and bowls in a saggar container inside the kiln, often securing precarious forms with nichrome wire. He drips casting slip and glazes overtop, squirting or “glopping” glazes by hand, spatula or glaze bulb – a tool similar to a turkey baster. This added glaze and the liquid clay, or casting slip, work in tandem with the glaze on the collected pottery to fuse it into a finished sculpture. These found objects add an element of the unknown since Bare is not always sure what temperature they can withstand, which sometimes leads to his sculptures collapsing unexpectedly during firing. The saggar containers protect the inside of his kiln from being ruined by clay or glaze that melts unpredictably. Bare pushes his materials to this precarious brink – hoping they shift or slump in the heat of the kiln without fully collapsing. The resulting fusion of individual objects into a unified whole adds to the unsettling sense that each of these sculptures will continue to grow and absorb more material, eventually overtaking everything in their path.
Bare is a full-time Lecturer in the Art Department at Clemson University. He has called the Upstate of South Carolina home since 2010. Born and raised in Lancaster, PA, he earned his MFA in Ceramic Art from Alfred University (Alfred, NY) and BFA in Crafts/Ceramics from the University of the Arts (Philadelphia, PA). His practice in clay and professional experience includes international and national artist residencies at acclaimed programs in China, Japan, Canada and the United States. His ceramic work is featured in Glaze: The Ultimate Collection of Ceramic Glazes and How They Were Made (2014), as well as 500 Ceramic Sculptures (2009), 500 Teapots Part I & II (2002; 2013). He exhibits and presents public lectures about his work at Beijing Fine Art Academy in China, the Michigan Ceramic Art Association, the National Council for Education in the Ceramic Arts (NCECA) conferences and many universities and art centers in the US and abroad.

GHP Artists Exhibition 2018
2018-04-06 17:00 - 2018-04-27 18:00 | NY
Left to right, top to bottom: Nancy Sacks, Lana Kova, Margaret Skaggs, Andy Graves. Photos: courtesy of the artists.
GHP Artists Exhibition
Opening Reception | Friday, April 6, 2018 | 5:00 – 7:00 p.m.
Exhibition on view through April 27, 2018
The Jane Hartsook Gallery is pleased to present an exhibition recognizing the distinguished artists who contribute to the Greenwich House Pottery community. This exhibition showcases the artistic range of GHP’s makers, each of whom uses the Pottery’s extensive resources to express their own creative voice in clay. From functional ceramics to sculpture, this exhibition is as diverse as the artists themselves.
GHP is the oldest non-profit in the country dedicated to the inquiry and advancement of the ceramic arts. Key to the development of technical skills and innovation, GHP provides an all-encompassing educational program for over 1260 students annually. Artists and students learn from professional faculty and staff proficient in a range of topics from wheel throwing, hand-building and paper clay to glaze chemistry and slip casting. GHP also hosts workshops and lectures by leading ceramic artists from around the country as well as offering teens and children the opportunity to work in clay through Greenwich House’s After-School Program. The artists in this exhibition represent the continuous achievement, exploration and passion for ceramic arts that GHP has fostered for over 110 years.

Chawan, Tom Sachs
2018-05-06 14:00 - 2018-06-08 18:00 | NY
Chawan Cabinet, porcelain, gold luster, pine, maple, latex, glass beads, steel hardware, epoxy resin, Tru Vue Museum Glass, 32″ x 32″ x 8″, (ToS 80), S/N: 2018.124, 2018.
Chawan
Tom Sachs
Opening Reception | Sunday, May 6, 2018 | 2:00 – 4:00 p.m.
Exhibition on view through June 8, 2018
The Jane Hartsook Gallery is pleased to present new work by American sculptor Tom Sachs. Known for his dry wit, this modern day chawan’ya observes, “There comes a time in every middle-aged, man’s life when he realizes that Japan is where it’s at… Mourning the loss of spirituality in our capitalist environment, we admire Tea’s integration of humility, prosperity, and spirituality.” For Sachs, that has meant making chawan, or teabowls, in addition to learning chanoyu , the way of tea. In this exhibition, Sachs has filled several tea cabinets with chawan and highlighted a number of “heroes,” individual chawan that he sets apart as embodying a certain heighted “thingness.”
The way of tea serves to give meaning to the meaningless for Sachs, and its ritual provides relief from the structure of society and the commitments one has to the world. He expresses this in his art by making ritualized objects to fill the void created by the purposeless production we encounter so often in daily life. Sachsturns to tea to reconcile his love of consumerism and his private quest for authenticity, while his chanoyu is an “expression of how spirituality’s been replaced with consumerism,” just as it was for the wildly revered tea master, Sen no Rikyū (1522 – 1591).
Sachs is best known for his cultural prosthetics. Sculptures created using materials readily available or found—bricolage—his plywood, boom boxes and NASA installations. A contrarian and provocateur whose humor and convictions are decidedly postmodern, Sachs has an appetite for consumerism and cultural fetishization. Unlike much of contemporary theory, Sachs embraces rather than disparages consumer culture. It is difficult to speak about the perils of society and the degradation of the environment while holding an iPhone. The rise of consumerism has cultivated an aloof criticality reluctant to see its irony revealed. It is impossible to discern whether Sachs is sincere about his sincerity—the critical, academic, leftist response would be to reject consumerism as unauthentic and bourgeois, not to embrace it. Liminality is an overarching theme in his life and work: Sachs occupies the space between artist and manufacturer, proletariat and bourgeoisie, ascetic and materialist, reality and make-believe. This is the second exhibition of Sachs’ chawans. Exhibited will be several cabinets of chawans and cups. Also on view will be several “hero” chawans.
The exhibition will be presented with the support of Salon 94. Tom Sachs (b. 1966, New York) is a New York-based sculptor known for his work inspired by icons of modernism and design. Using modest studio materials, Sachs creates parallel universes incorporating semi-functional sculpture, sometimes deployed by the artist and his studio assistants for interactive projects as in Nutsy’s (2001–2003) and Space Program (2007, 2012, 2016–2017). His work is in the collections of the Museum of Modern Art (New York, NY); the Metropolitan Museum of Art (New York, NY); the Solomon R. Guggenheim Museum (New York, NY); the Whitney Museum of American Art (New York, NY); the J. Paul Getty Museum (Los Angeles, CA); the Centre Georges Pompidou (Paris, France); San Francisco Museum of Modern Art (San Francisco, CA); and the Astrup Fearnley Museet for Moderne Kunst (Oslo, Norway) among others.
He has had solo exhibitions at the Nasher Sculpture Center (Dallas, TX; 2017–2018); Yerba Buena Center for the Arts (San Francisco, CA; 2016–2017), Noguchi Museum (New York, NY; 2016); the Brooklyn Museum (New York, NY; 2016); the Contemporary (Austin, TX; 2015); the Park Avenue Armory (New York, NY; 2012); Aldrich Contemporary Art Museum (Ridgefield, CT; 2009); Gagosian Gallery (Los Angeles, CA; 2007); Lever House (New York, NY; 2008); Fondazione Prada (Milan, Italy; 2006); the Deutsche Guggenheim (Berlin, Germany; 2003); the Bohen Foundation (New York, NY; 2002); and SITE (Santa Fe, NM; 1999); among others. His film A Space Program was released by Zeitgeist in 2016, offering viewers a glimpse into the artist’s studio practice, philosophy, and the narrative surrounding his 2012 project with Creative Time at the Park Avenue Armory.

Ceramics Now 2018
2018-07-13 17:00 - 2018-09-14 18:00 | NY
Mathew McConnell, Untitled #1 from Today Won’t Remember (edition of 2), earthenware with bone charcoal and graphite, 13” x 11” x 1”, 2017/18. Photo: courtesy of Greenwich House Pottery. Photographer: Alan Wiener.
Ceramics Now
Nicolás Guagnini, Samuel Johnson, Pam Lins, Linda Lopez,
Mathew McConnell, Eun-Ha Paek, Rirkrit Tiravanija
Opening Reception | Friday July 13, 2018 | 5:00 – 7:00 p.m.
Exhibition on view through September 14, 2018
The Jane Hartsook Gallery is pleased to present work by our 2017-2018 artists in residence: Nicolás Guagnini, Samuel Johnson, Pam Lins, Linda Lopez, Mathew McConnell, Eun-Ha Paek and Rirkrit Tiravanija. The Greenwich House Pottery residency is a distinguished program that fosters artistic growth by providing artists with a creative community, time, space, material and technical skill to explore and generate new bodies of work in ceramics in the center of the art world.
Contemporary artist, writer and filmmaker Nicolás Guagnini works across disciplines to engage with concepts of labor, capital and masculinity. His exhibitions frequently mix mediums—ceramic sculptures are paired with books from his personal library, flowers, ink-soaked pedestals, critical writing and unique text design—with every component adding a layer of meaning deeply tied to the project’s philosophical basis. Guagnini used his residency to work on large-scale ceramics sculpture.
Samuel Johnson is a potter known for his woodfired utilitarian pottery. He sees the uneven shapes and dark varied surfaces of his finished work as a reflection of humanity’s capacity for reason and mathematical precision while simultaneously being half-wild, full of biological and spiritual mysteries. Johnson is using his residency at GHP to develop new forms in utilitarian ceramics.
Primarily a sculptor, Pam Lins works across disciplines using classical to contemporary art, craft and design forms to question the nature of sculpture and materiality. During her residency, Lins developed a collaborative project with artists Trisha Baga and Halsey Rodman and approximately 50 other artists to create and decorate ceramic and mixed-media artwork that will culminate in December at Greene Naftali Gallery in what Lins, Baga and Rodman hope will be an unruly event that is simultaneously a party, a play, a show, a cocktail lounge, a conversation circle and a fundraiser.
Linda Lopez creates sculptures that anthropomorphize the objects around us. She is perhaps best known for her “dust fury” sculptures, round or oblong creatures composed of hundreds of drops of clay, often sprinkled with gold luster nuggets of “lint.” Resisting the idea that objects are inanimate, Lopez studies objects and their relationships to one another to discover their psychological states and personalities, which she reveals in her work. Lopez continued this investigation during her residency.
Mathew McConnell uses his studio practice to explore concepts of authorship and to consider the developing art historical moment. McConnell begins with the work of other visual artists, sometimes making what appear to be exact facsimiles of the works, sometimes reinterpreting them beyond recognition, but always with a mind towards understanding the moment at which the work becomes more his than theirs. McConnell’s 2016 solo show in the Jane Hartsook Gallery was hailed by art historian and critic Garth Clark as, “a new benchmark for himself, the field and the genre.”
Eun-Ha Paek is an animation filmmaker and illustrator based in Brooklyn, NY who creates narratives that use humor to process the full range of human emotion. She brings the characters in these narratives into the physical world through ceramics, creating sculptures that are familiar and yet strange—at times dark, but always playful. As a fellow, Paek considered the mutability of memory. She 3-D scanned and printed hand-built sculptures and then scanned and printed each subsequent iteration of the sculptures, allowing the regular defaults in the process to accumulate. In the same way that parts of a memory gain or lose resolution over time, the sculptures slowly mutated with each remaking.
Rirkrit Tiravanija is perhaps best known for creating installations and events that emphasize social engagement, though he creates traditional material-based art as well. He made a name for himself in the early 90’s by eschewing typical visual arts practices and engaging audiences by cooking for them. He has continued this practice in relational aesthetics with subsequent installations, and made it a part of his residency—cooking steak in his handmade flameware to make lunch for the Pottery’s community. Tiravanija used his time at GHP to expand his work on the potter’s wheel and experiment with forms based on the teabowl.

Millennium Mambo, Cristina Tufiño
2018-09-28 17:00 - 2018-10-26 18:00 | NY
Saint Adelaide Patron Saint of Sex Workers and Freer of Those in Psychological Bondage, ceramic, underglaze, 14 x 9 inches, 2018. Courtesy of the artist and Galería Agustina Ferreyra. ©Cristina Tufiño. Photo: Alan Wiener.
Millennium Mambo
Cristina Tufiño
Opening Reception | Friday, September 28, 2018 | 5:00 – 7:00 p.m.
Exhibition on view through October 26, 2018
The Jane Hartsook Gallery is pleased to present new work by Cristina Tufiño. Tufiño is an interdisciplinary artist whose work draws on matriarchal power and sexuality. In this new body of sculptural work, Tufiño develops the exploration she began in her video essay Dear Pilar (2018), using historical symbols and personal experiences to explore the tension between biographical representation, memory and desire. This is the artist’s first solo exhibition.
Appearing improvisational at first, consideration shows how carefully Tufiño has layered historical reference with autobiographical imagery. A collection of cast ceramic keyboards, cat heads, fingers and pineapples stand out as the refuse of some past-present millennial culture, waiting to be discovered by a future archeologist. The palette of the installation as a whole is sourced from the vibrant colors of ancient Greek statues before they were eroded by time. The embracing sphinxes twine together the disparate histories of Ancient Egypt, French Egyptian Revival furniture and the vernacular art of Las Vegas architecture and tourist souvenirs.
Tufiño connects these broader historical references to her personal experience, juxtaposing archeological references with images of her childhood home in San Juan, Puerto Rico, her travels to Tokyo, Japan and her visits to the lush gardens of the Chateau de Fontainebleau in France. The ceramic polaroid picture wall reliefs are fragmented memories—both real and imagined from 2001—drawn from personal photographs, found images of bar hostesses in Tokyo, and women bored and drinking in bars or coming home to mundane lives. This collage of artifacts comes together as an imagined vision into the past through a future nostalgia, a nostalgia that is sensual and bright despite its dark undertones.
Cristina Tufiño (b. 1982) was born in San Juan, Puerto Rico and lives and works between Philadelphia, PA and New York, NY. Tufiño received her MFA from the University of Pennsylvania, her BFA in photography from the Rhode Island School of Design, and her BA in art history from the University of Puerto Rico. Her work has been shown in a number of solo, two-person and group exhibitions including at: Knockdown Center (Queens, NY; 2018), Galería Agustina Ferreyra (Mexico City, Mexico; 2018), NADA NY (New York, NY; 2017), The Hole (New York, NY; 2018), Ruberta (Los Angeles, CA; 2017) and Hidrante (San Juan, Puerto Rico; 2016). Tufiño has won the ARTADIA Award (2016) and the Chenven Foundation Artist Grant (2016) and been artist in residence at the Loisaida Arts Center (New York, NY; 2016) and the Skowhegan School of Painting and Sculpture (Madison, ME; 2012).

In House, GHP Faculty and Staff Exhibition
2018-11-09 17:00 - 2018-12-06 18:00 | Jane Hartsook Gallery, 16 Jones Street, New York, NY, 10014, United States
Left: Elise Siegel, Portrait Bust with Cobalt and White, underglaze, ceramic, 2015. Photographer: Alan Wiener. Right top: Hiroe Hanazono, Brunch Set, porcelain, 2017. Photo: courtesy of the artist. Right bottom: Pedro Ramirez, Festuca, ceramic, clay, grass, 2015. Photo: courtesy of the artist.
In House
GHP Faculty and Staff
Opening Reception | Friday, November 9, 2018 | 5:00 – 7:00 p.m.
Exhibition on view through December 6, 2018
The Jane Hartsook Gallery is pleased to present a group exhibition showcasing the artwork of current Greenwich House Pottery faculty and staff. Approaching the ceramic medium from a wide range of sources and backgrounds, this show is as varied and dynamic as its contributors.
Established educators in the arts, designers and working artists, our faculty and staff have been involved in numerous public works projects as well as residencies at institutions such as: Archie Bray Foundation, The Clay Studio, Flux Factory, The International Ceramic Research Center, Haystack Mountain School and Sculpture Space NYC. Alma maters include Alfred University, the Art Institute of Chicago, California College of Arts and Crafts, Cranbrook Academy of Art, Pratt Institute, University of the Arts and the School of Visual Arts.
GHP faculty and staff have showed their work in numerous exhibitions and have work in public and private institutions across the United States and abroad, including: Corcoran Gallery of Art, Garth Clark Project Space, Guggenheim Museum, Los Angeles County Museum of Art, Mint Museum of Art, the Mississippi Museum of Art, the Museum of Fine Arts Houston, the Museum of Modern Art, the Smithsonian Institution’s Renwick Gallery, Taipei Museum of Fine Arts, and the Whitney Museum.
PARTICIPATING ARTISTS

Untitled (Billy Wilder doesn’t drink green tea) 2019, Rirkrit Tiravanija
2019-02-22 17:00 - 2019-03-22 18:00 | NY
Untitled (Billy Wilder doesn’t drink green tea) 2019, 2019. Photo: courtesy of Greenwich House Pottery. Photographer: Alan Wiener.
Untitled (Billy Wilder doesn’t drink green tea) 2019
Rirkrit Tiravanija
Opening Reception | Friday, February 22, 2019 | 5:00 – 7:00 p.m.
Exhibition on view through March 22, 2019

The Jane Hartsook Gallery is pleased to present new work by Rirkrit Tiravanija. Tiravanija has transformed the gallery into a familiar environment that invites visitors to take a minute to sit, relax, have a drink and contemplate pottery. Tiravanija is known for creating similar installations and events that emphasize social engagement, as well as his traditional material-based art. He made a name for himself in the early ’90s by eschewing typical visual arts practices and engaging audiences by cooking for them. He has continued this practice throughout the decades in nearly all subsequent installations and exhibitions, including during his 2017 residency at Greenwich House Pottery—cooking 3-inch thick porterhouse steak in his thrown custom-formulated flameware to make lunch for the Pottery’s community. In Untitled (Billy Wilder doesn’t like green tea) 2019, Tiravanija once again brings his material-based artwork together with his social practice.
Born in Buenos Aires, Argentina, Tiravanija is a Thai artist widely recognized as one of the most influential artists of his generation. His work defies media-based description, as his practice combines traditional object making, public and private performances, teaching, and other forms of public service and social action. Tiravanija is on the faculty of the School of the Arts at Columbia University, and is a founding member and curator of Utopia Station, a collective project of artists, art historians and curators. Tiravanija also helped establish an educational-ecological project known as The Land Foundation, located in Chiang Mai, Thailand.
He has had individual exhibitions at the following institutions: Garage Museum of Contemporary Art (Moscow, Russia; 2015); Modern Art Museum of Fort Worth (TX; 2014); Yerba Buena Center for the Arts (San Francisco, CA; 2013); Tate Modern (London, United Kingdom; 2013); Singapore Art Museum (Singapore; 2012); Centre Pompidou (Paris, France; 2012); Museum of Modern Art (New York, NY; 2012); Bonniers Konsthall (Stockholm, Sweden; 2011); Mildred Lane Kemper Art Museum (St. Louis, MO; 2009); The Drawing Center (New York, NY; 2008); among others. He has also participated in group exhibitions at the Sharjah Biennial (Sharjah, United Arab Emirates; 2015); Venice Biennale (Venice, Italy; 2015); the Hammer Museum (Los Angeles, CA; 2014); the National Museum of Art, Architecture and Design (Oslo, Norway; 2014); the New Museum (New York, NY; 2013); the Palais de Tokyo (Paris, France; 2012); among many others.

GHP Artists Exhibition 2019
2019-04-12 17:00 - 2019-05-03 18:00 | NY
Left to right: Maggie Wells, Untitled, and James Wawrzewski, Wooden Box. Photo: Ann Treesa Joy.
GHP Artists Exhibition
Opening Reception | Friday, April 12, 2019 | 5:00 – 7:00 p.m.
Exhibition on view through May 3, 2019
The Jane Hartsook Gallery is pleased to present an exhibition recognizing the distinguished artists who contribute to the Greenwich House Pottery community. This exhibition showcases the artistic range of GHP’s makers, each of whom uses the Pottery’s extensive resources to express their own creative voice in clay. From functional ceramics to sculpture, this exhibition is as diverse as the artists themselves.
GHP is the oldest non-profit in the country dedicated to the inquiry and advancement of the ceramic arts. Key to the development of technical skills and innovation, GHP provides an all-encompassing educational program for over 1260 students annually. Artists and students learn from professional faculty and staff proficient in a range of topics from wheel throwing, hand-building and paper clay to glaze chemistry and slip casting. GHP also hosts workshops and lectures by leading ceramic artists from around the country as well as offering teens and children the opportunity to work in clay through Greenwich House’s Afterschool Program. The artists in this exhibition represent the continuous achievement, exploration and passion for ceramic arts that GHP has fostered for over 110 years.

GHP Artist Talk: Joanna Powell
2019-05-17 15:30 - 16:30 | Jane Hartsook Gallery, 16 Jones Street, New York, NY, 10014, United States
Joanna Powell will give an artist talk. Powell will discuss her past work and her New York debut exhibition, Lay Me in a Hot Bed and Try Not to Drown. In this exhibition, Powell explores emotions that are universally felt in highly individualized ways. Everyone eventually grapples with the death of a loved one, but each person’s experience is unique. Using ceramic, photography and neon, Powell unpacks what it means to have common experiences without actually being able to share them.

Joanna Powell is an artist based out of Helena, Montana. She received her MFA in ceramics from the University of Colorado, Boulder and her BFA in ceramics from the University of North Texas. She was an artist in residence at the Archie Bray Foundation and has had solo and group exhibitions at University of Wisconsin-River Falls (River Falls, WI; 2019), Denison Artspace (Newark, OH; 2016), Hoffman Gallery (Portland, OR; 2018), and The Clay Studio (Philadelphia, PA; 2013), among others.
This event is free and open to the public.
Seats are limited. Please register to RSVP.

Lay Me in a Hot Bed and Try Not to Drown, Joanna Powell
2019-05-17 17:00 - 2019-06-14 18:00 | Jane Hartsook Gallery, 16 Jones Street, New York, NY, 10014, United States
Left to right: Flower Vessel no. 1 and Fruit Vessel with Bangles, ceramic, 2019. Photo: courtesy of Greenwich House Pottery. Photographer: Alan Wiener.
Lay Me in a Hot Bed and Try Not to Drown
Joanna Powell
Opening Reception | Friday, May 17, 2019 | 5:00 – 7:00 p.m.
Exhibition on view through June 14, 2019
The Jane Hartsook Gallery is pleased to present new work by Joanna Powell. Lay Me in a Hot Bed and Try Not to Drown, Powell’s New York City debut, was inspired by the harrowing experience of returning to Dallas after her mother’s death. In this exhibition, Powell explores emotions that are universally felt in highly individualized ways. Everyone eventually grapples with the death of a loved one, but each person’s experience is unique. Using ceramic, photography and neon, Powell unpacks how those humid Dallas nights felt, trying to fall asleep despite the crush of emotion and thick summer air, and what it means to have common experiences without actually being able to share them.
Powell’s work is joyful while retaining a sense of loss. Infinite black backgrounds make intense colors pop with life, and white vessels are washed in color. Pots and paintings alike are lush with beautiful plant life whose fruit and flowers promise plenty that they ultimately cannot fulfill. Joy and pain are present in Powell’s work in a way that welcomes viewers to contemplate their experiences with loss without dictating their responses.
Joanna Powell (b. 1981, Dallas, TX) holds an MFA from the University of Colorado, Boulder and a BFA from The University of North Texas in Denton. Powell has exhibited her work throughout the United States. Her most recent solo exhibition, Everything Belongs to You, was held at the Denison Art Space in Newark, OH. In 2015, Powell was granted an Emerging Artist Award from the National Council on Education for the Ceramic Arts (NCECA). She has been a resident artist at the Archie Bray Foundation (Helena, MT); Haystack Mountain School of Crafts (Deer Isle, ME); Alfred University (NY); Kansas State University (Manhattan, KS) and Denison University (Granville, OH). Currently she lives in Helena, MT and is a full-time studio artist and travelling lecturer.
