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nceca exhibits

updated tue 26 aug 08

 

Dwiggins, Sandra (NCI) on wed 17 feb 99

Hey guys---I will be going to NCECA this year----haven't gone since some time in
the 1970's. Really looking forward to seeing you all in person I understand
that sometimes exhibitors will give you a good price on equipment they bring to
the conference so that they don't have to lug it all the way home. Is this a
rumor--or really true?
Sandy D.

Jeremy M. Hellman on thu 18 feb 99

Sandy's posting reminded me that I will also be driving to NCECA this
year (first time!) from the Pittsburgh, PA area, with room in my car.
Anyone looking to share a ride should contact me. I'm looking forward to
meeting so many of the people I feel I already know from Clayart.

Bonnie

Bonnie Hellman in Pittsburgh, PA

"Outside a dog, a book is a man's best friend. Inside a dog, it's too
dark to read" Groucho Marx

" " Harpo Marx

"Time flies like an arrow. Fruit flies like a banana" Att. to GM

"You can tune a piano but you cant tune a fish" Old Proverb

"By the time they had diminished from 50 to 8, the other dwarves
began to suspect 'Hungry' ..." -- Gary Larson, "The Far Side"

Barbara Lewis on thu 18 feb 99

Yes, Sandy, it's really true -- anything from kilns to slab rollers. Barbara

At 09:17 AM 2/17/99 EST, you wrote:
>----------------------------Original message----------------------------
>Hey guys---I will be going to NCECA this year----haven't gone since some
time in
>the 1970's. Really looking forward to seeing you all in person I understand
>that sometimes exhibitors will give you a good price on equipment they bring to
>the conference so that they don't have to lug it all the way home. Is this a
>rumor--or really true?
>Sandy D.
>
Wellspring Clayworks
5412 Well Spring Road
La Plata, MD 20646
blewis@crosslink.net

Marie Gibbons on sat 9 mar 02


Hi all
those of you who are going to nceca... I just wanted to toot my horn on a
show that I would love you all to go and see....
Kansas City Artists Coalition, in the new works gallery (the basement)
201 Wyandotte (I think it is the riverbottom tour bus)
the show is called 'bodytext'
artists: Tenille Blair, Shannon Calhoun, Mark Chatterley, Bede Clark, Linda
Ganstrom, Marie Gibbons, Sondra Schwetman, Conrad Snider

Opening reception is Fri nite from 5 to 7:30

It is a very nice show I think.... figurative, some huge pieces, and several
installation pieces. Hope you will go and see it!

Marie Gibbons
http://www.oooladies.com

mel jacobson on sat 23 aug 08


i have been going over this discussion now for
11 years.

the local nceca committee has full charge of gallery shows.
they have no obligation to clayart, or any other group to
show pots. they take care of their own first, then other groups.
there is no consistent philosophy...it is their show.
i see no reason to complain or be concerned about what each
cities group does. it is their show.

the clayart room is becoming a great place to show your
work. it is available, no strings...and no one can tell us
yes or no.

i have had a couple of shows at nceca....but, i found a private
gallery that was not part of the big picture. we are doing this
again in phoenix. we got the gallery, did the leg work, set up
the schedule...bingo. this years show is in a church. great venue.
not a part of the nceca tour, but close to the convention center.

david armstrong from the amoca museum was turned down
by nceca...so...he is having his show at the local clay company.
(marjong.sp) he kindly allowed the tom coleman/bendel show to be
placed in the clayart room. (he will also place pots around the
hotel.)

i totally agree with vince on this. nceca groups are looking for
new and edgy work...of course, much of it looks like always...
derivative work...done over and over. but, it is what they want,
and they own the space...so let them do what they do. their show.

the nceca groups have been more than understanding about what
clayart is, can be, and have been more and more embracing to our group.
we bring a few thousand new members to nceca, fill hotel rooms and
pay our dues. so, that is good. they know we communicate rapidly,
and do not back down to anyone. we have strength in numbers and
communication skills. very vital in today's world.

just like making books...communication with computers, adobe, cd
and dvd production will be the future. is the future..now.
we are ahead of the curve. if anyone thinks you can make a living
publishing/selling hard cover ceramic books...at a ten percent commission is crazy. we might as well start working on cd books...it is what is coming.
don't be the last in line.

i will always be indebted to bill jones for the work he did with
my first book. but, that sort of thing will not happen again for
me. i have taken over my own production, with the help of a
great cd making company. ten times the fun, and half the head
ache.
mel

from minnetonka:
website http://www.visi.com/~melpots/
clayart site:
http://www.visi.com/~melpots/clayart.html

Antoinette Badenhorst on sat 23 aug 08


Mel, thank you for discussing this again. As you've mentioned, clayart bring new members to NCECA every year. Most of us do not know the inside and behind the scene actions at NCECA, so for those this kind of discussion is very valuable, specifically if you want to get more involved in some or other way.

To underline my comments: I was not complaining, nor was I accusing. It is sad that if one question something people might see it as a complaint. That is the reason why some of the clayart members e-mailed me privately. They do not want to be labeled as naggers or complainers. I am not scared to ask questions. It is often times the only way that one learn or solve a problem.

So here is another question: How is it that some potters get in so many exhibitions over and over again and often times multiple shows at one NCECA? I know my question sounds clumsy, but if the local NCECA committee chooses their shows, then one would think new venue, new faces. Of cause there are the Tom and Elaine Colemans that are so well known and popular that it is almost automatically expected for them to be in a show or 5.

I guess my question is: how do one get ahead of NCECA shows? How can one be pro-active instead of reactive if one is looking for exposure?

You wrote:

the nceca groups have been more than understanding about what
clayart is, can be, and have been more and more embracing to our group.
we bring a few thousand new members to nceca, fill hotel rooms and
pay our dues. so, that is good. they know we communicate rapidly,
and do not back down to anyone. we have strength in numbers and
communication skills. very vital in today's world.

That is just my point. Of cause they do not owe us anything. So they do not owe SOFA anything or anyone else for that sake. Can you imagine the Olympics taking place and the USA does not take part in it?

Mel I am not suggesting here that Clayart is not visible at NCECA or that you guys are not doing a great and a huge job with clayart at NCECA and everywhere else. Just as we bring Clayarters to NCECA, I would like to see NCECA bring members to Clayart. I also know that as we progress, more and greater things will come from it. This is not a stagnant movement.

The biggest lesson( or maybe awakening) that I've experienced through this tread was " we need to be cutting edge". In many respects as you've mentioned already we are cutting edge with clayart. How do we become cutting edge with shows? That you've answered also and we know about the clayroom shows.

We started with cyber clay shows now; one on, one off. How do we move forward from here on? Clearly we did not meet the expectations with the last show, whether it was another cyberclay show too soon on top of the previous one, or whether it was too similar to the previous one or whatever may be the reason. Fact is we should move on to the next position from here on. How will we do that?

If I just think of how many times ^6 glazes were discussed on clayart, I can immediately see a show just on cone 6 glazes......

Well, now off my soap box, I hope you get my point and that my neck is still well and in tact....
--
Antoinette Badenhorst
www.clayandcanvas.com
www.studiopottery.co.uk

joyce on sat 23 aug 08


Interesting......... pondering how one gets into a show at NCECA...
or manages to have a whole Clayart show that at least appears to
be part of the conference exhibits.

I know little about this so will add little. BUT I'd like it noted that
a few of the gallery shows at NCECA that presented Clayart pieces.....
were very personally planned and every detail of finding the artists,
contacting NCECA, doing miles of leg work, and much more than
I can recall off the top of my head..... took months of constant
communication ... and more than a smidgeon of Positive Thinking...
by a select few individuals (like maybe TWO).

These few did a
bang-up job and had smashing shows. However, it is worth noting
that not much has been heard from them on Clayart since. We all
know that a thousand offerings of praise (well-deserved praise) can
be completely undercut by a couple of thoughtless, rude and
hurtful comments........ especially when one's work was given
voluntarily with verve and joy...... solely for the pleasure of
Clayarters who had said many times.... "why don't we have more
work shown by Clayarters at NCECA?"

No, I was not one of the innovative, ground-breaking Good Doobies........
just an enthusiastic cheerleader ............ but even that perspective
helps me understand the reluctance of those who "really want to
get involved" to do so a second time around.

Bah. Humbug.
Joyce
In the Mojave desert of California U.S.A.

Jennifer Buckner on sat 23 aug 08


At 01:34 PM 8/23/2008, Antionette wrote:
>.

> Can you imagine the Olympics taking place and the USA does not
> take part in it?

Yes, Moscow, 1980. And ... the Olympics took place in spite of this.

Jennifer
Northern VT

Jennifer G. Buckner jennifer@buckner.cc

W J Seidl on sat 23 aug 08


I know it's not novel. It's been done many many times, but here's an
idea...
what about a "mimic" show of sorts, of something akin to the Orton Cone
Box show?
Call it "The Sincerest Form of Flattery" or something.

Criteria for entry would be a box or similar shape, of specific dimensions
decorated strictly with artist's choice of cone 6 glaze, embellishments
up to the individual?

Having, say 100 + pieces of all the same shape and size but vastly
differing in finish, color, firing technique
etc. would certainly be something to see.

Just my $0.03

Best,
Wayne Seidl


Antoinette Badenhorst wrote:
> SNIP FOR SPACE
We started with cyber clay shows now; one on, one off. How do we move forward from here on? Clearly we did not meet the expectations with the last show, whether it was another cyberclay show too soon on top of the previous one, or whether it was too similar to the previous one or whatever may be the reason. Fact is we should move on to the next position from here on. How will we do that?

> If I just think of how many times ^6 glazes were discussed on clayart, I can immediately see a show just on cone 6 glazes......
>

Don Goodrich on sun 24 aug 08


Neat idea, Wayne!
You're almost proposing a test tile show, and we know how artistic test tiles
can get. Standardizing the form forces attention on the surfaces, and
limiting
the pieces' size would allow many to be exhibited in a relatively small
venue.
The cloakroom of the ClayArt Room, perhaps? It could be the Box Closet Show,
and being in the Closet could be a Good Thing for a change...

Cheers,
Don Goodrich

http://dongoodrichpottery.com/

On Sat, 23 Aug 2008 20:30:50 -0400, W J Seidl wrote,
in part:
>Criteria for entry would be a box or similar shape, of specific dimensions
>decorated strictly with artist's choice of cone 6 glaze, embellishments
>up to the individual?
>
>Having, say 100 + pieces of all the same shape and size but vastly
>differing in finish, color, firing technique
>etc. would certainly be something to see.



**************
It's only a deal if it's where you want to go. Find your travel
deal here.

(http://information.travel.aol.com/deals?ncid=aoltrv00050000000047)

Antoinette Badenhorst on sun 24 aug 08


Joyce I find your e-mail interesting. You wrote:

These few did a
bang-up job and had smashing shows. However, it is worth noting
that not much has been heard from them on Clayart since. We all
know that a thousand offerings of praise (well-deserved praise) can
be completely undercut by a couple of thoughtless, rude and
hurtful comments........ especially when one's work was given
voluntarily with verve and joy...... solely for the pleasure of
Clayarters who had said many times.... "why don't we have more
work shown by Clayarters at NCECA?"

Unfortunately we live in a world where the highest trees get the most wind; positive or negative.
Some are jealous because they can not feed off the compost that makes the tree grow.
Others are confused because they are in the compost but all it does, is make their roots rot.
Others do not know where the compost is and others are too happy to stand in the shade of this big tree.

Sadly enough; high trees will sometimes forget about their roots and the compost that fed them once. They will forget that it is the very rejection and hard sweat that gave them the drive and got them where they are. They also might think that all will be sunshine once they hit the top and not realize that there are other dangers that await them there.

Nothing in this world comes easily and once one have it, there are a zillion others that compete for that very same success spot. They will do it in whatever way they can and if the Successors among us did not feed their roots from the beginning with the compost needed to help them get a thick skin, life can become miserable for them.

--
Antoinette Badenhorst
www.clayandcanvas.com
www.studiopottery.co.uk

Logan Johnson on sun 24 aug 08


Hey There Gang,,

Don & Wayne's=A0 Ideas sure made me wish I was a mosaic & or mural artist !=
=A0 I would love to take=A0=A0 ^ 6 test tiles & samples from everyone on Cl=
ayart & do a really large scale wall mural for NCECA .=A0=A0=A0 I=A0 don't =
know what the=A0 image would=A0 be, maybe something specific or it might ev=
en be an abstract design .=A0=20
Shoot,=A0 workshops could be put together to help the artist doing the mura=
l.
Oh well it's just a thought.

Have a good one Y'all !
Logan


Logan Johnson=20
Yakima Valley Pottery & Supply=20
719 w. Nob Hill blvd.=20
Yakima Wa. 98902=20
(509) 469-6966=20
www.yakimavalleypottery.net

--- On Sun, 8/24/08, Don Goodrich wrote:
From: Don Goodrich
Subject: Re: nceca exhibits
To: CLAYART@LSV.CERAMICS.ORG
Date: Sunday, August 24, 2008, 9:04 AM

Neat idea, Wayne!
You're almost proposing a test tile show, and we know how artistic test
tiles
can get. Standardizing the form forces attention on the surfaces, and
limiting
the pieces' size would allow many to be exhibited in a relatively small
venue.
The cloakroom of the ClayArt Room, perhaps? It could be the Box Closet Show=
,
and being in the Closet could be a Good Thing for a change...

Cheers,
Don Goodrich

http://dongoodrichpottery.com/

On Sat, 23 Aug 2008 20:30:50 -0400, W J Seidl wrote,
in part:
>Criteria for entry would be a box or similar shape, of specific dimensions
>decorated strictly with artist's choice of cone 6 glaze, embellishments
>up to the individual?
>
>Having, say 100 + pieces of all the same shape and size but vastly
>differing in finish, color, firing technique
>etc. would certainly be something to see.



**************
It's only a deal if it's where you want to go. Find your travel
deal here.

(http://information.travel.aol.com/deals?ncid=3Daoltrv00050000000047)
=0A=0A=0A

Joseph Herbert on sun 24 aug 08


Wayne Seidl wrote: "what about a "mimic" show of sorts, of something akin to
the Orton Cone Box show..."

When NCECA was in KC I went to the Cone Box Show in Lawrence. I was living
in the area and so went to many of the farther away exhibits, even went to
Manhattan. In Lawrence, though, I got to talk for a few minutes with that
Show organizer. What an education! Over 450 entries from all over the
world, many poorly packed, and all expected to be returned. By poorly
packed, placed in a box with no padding, period. Just horrid. About 150
were displayed. Of course, they all had to be identified, because that was
the point. Some art teachers were encouraging (requiring) students to
submit something. That probably lead to some of the packing fiascos.

Keeping track of the connection between what came from whom seemed like a
very difficult and thankless job, an unpaid thankless job. The problems of
return packing and paying for shipping, daunting. She was a college prof
and had student helpers, but even so.

If there were to be an attempt at a Clayart show, I think nothing should be
returned. Sell it, donate it, or throw it away. That would be understood
up front. Still makes it a thankless job, but cuts the really bad stuff in
half. Also, if the piece is not identified by a stick on label on the
piece, it is not identified. No curator tags, no exhibit program, just the
pieces there self-identified.

If you attended the event, you could recover your piece (or cleverly claim
an unlabeled piece you liked).

Someone local could rent a UPS store mailbox for 2 months. Collect the
packages every few days. Do not open. Beg space from the associated
learning institution or a gallery, some place commercial would be
preferable. When the event arrives, transport the boxes to the site, open
them all, set out the stuff. Everything sells for $5.00 each starting noon
Saturday.

Pay for the mailbox rental, truck for transport, divvy with whomever ran the
sale, dispose of remaining items. Donate proceeds to pre-identified cause.

Still a lot of trouble and it all falls on that Volunteer. Like Joyce said,
do it once and disappear from Clayart forever. Humm, nominations for the
Volunteer?

Joe



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Dannon Rhudy on mon 25 aug 08


........ Over 450 entries from all over the
> world, many poorly packed, ....... By poorly
> packed, placed in a box with no padding, period. Just horrid......

My personal all-time favorite packing disaster
was when Doug Gray and I were running the
Ceramics USA show. First or second one, I
think. There was a LOT of poor packing, but
one guy, who was lucky enough to get into the
show juried by Don Reitz, sent his entry in a large box,
with only a small piece of an old quilt underneath it.
Of course it was crumbles when we got it, but the
sender was incensed to have it refused for installation.
On the brighter side, another person sent a really
intricate and delicate large piece in a great
package. Put expanding foam in the box,
covered it with plastic, laid the piece on. When
it had finished expanding, he put on more plastic
and filled up with more expanding foam. Perfect.

A great deal indeed goes into coordinating
exhibitions. Have to do it for the joy of a great
exhibition, or it's not worth it.

regards

Dannon Rhudy

Jeanette Harris on mon 25 aug 08


>
>On the brighter side, another person sent a really
>intricate and delicate large piece in a great
>package. Put expanding foam in the box,
>covered it with plastic, laid the piece on. When
>it had finished expanding, he put on more plastic
>and filled up with more expanding foam. Perfect.

I did that when I sent a very intricate piece, boxed within a box,
but Did not LINE THE INNER BOX WITH PLASTIC BEFORE I PUT THE FIRST
LAYER OF EXPANDING FOAM INTO THE BOX. Result was expanded foam stuck
firmly to the interior of the box. They had to destroy the small box
completely in order to get to the piece.

Good thing it was going only one way!

So the process is

First line the box with black plastic.

Spray in the foam and as it is just setting up, cover with more black
plastic and press the wrapped and padded form into the foam.

Cover the form with more plastic and tuck in--making sure the plastic
covers the top half interior of the box.

Spray in more foam to fill the top half of the box.

When set, trim the foam to the top of the box and fold over the
plastic. (Might be helpful to write a small note describing how the
packing works so the receiver can put it all back intact to return
it.)

Seal box and pack into larger box filled with packing.

Send off.

Pray.


--
http://jeanetteharrisblog.blogspot.com/

http://www.washingtonpotters.org/members/Jeanette_Harris/wpa_jeanette_harris.htm

http://www.sa-clayartists.org Click on Members, then H

Jeanette Harris
Washingzona

Mike Gordon on mon 25 aug 08


Back in the 60's I had a large, heavy, thrown and altered 3 piece pot
chosen by the American Craftsman Asc. to tour the western U.S. in their
traveling exhibition. It was gone for maybe 4 months. It was packed, by
somebody in San Francisco, in a cardboard box filled with foam. They
must have covered my piece, in seran wrap or something similar, first
and then filled it. It fit, like you would have made a mold of it, in
two pieces. The top of the box came off with the foam inside leaving my
pot easily lifted out. An amazing job considering the distance it
traveled to various museums, in several states and came back in perfect
condition. That dense foam is amazing stuff. Mike Gordon