A archival listing of past website introductions removed from the "front" page

Catherine White

Diverging Distillations

at Red Dirt Studio

exhibit announcement

Reception at

Red Dirt Studio, Mt. Rainer Maryland

1-4 pm - Sunday, Nov 13, 2005

This exhibit is in conjunction with Margaret Boozer's open studio in Mt. Rainer, Maryland.

Directions to Red Dirt Studio

3706-08 Otis Street
Mt. Rainier, MD 20712

The exhibit is open [by appointment] from Nov 4th through Nov 13th. ; please schedule before visiting.


Coming Home: A Journey in Clay

March 13 - April 16, 2005

An exhibit at the Stancills clay mine in a gallery dug right into the earth. More than 27 artists who have used Stancills clay to make pottery and sculpture. In Perryville, MD, north of Baltimore, being held in conjunction with NCECA in Baltimore.

Veins of Inspiration -- thoughts on the exhibit by Catherine White, along with a few more photos of the mine.

[For exhibit info - times and location]

Geologic Personality

Margaret Boozer & Catherine White

Resurgam Gallery     Baltimore, MD

March 3 - 26, 2005

Boozer and White's joint exhibit presents two distinctly different geologic representations of the expressive nature of clay.

White works on the fringes of our common ideas about what pottery should look like. Making vases, bowls, and plates, her pottery is functional, yet strikes a nuanced, discordant note that separates each object from just being a modern rendition of a past classic. White's light-colored clay is coated in an irregular white slip with a thin celadon glaze while her dark clays are glazed only by the anagama's directed wood ash patterns.

Boozer's approach is both painterly and sculptural, each work a manifestation of her gaze focused upon the forces of nature and time. Made by initially pouring out a wet clay slurry on a horizontal surface, each sculpture dries, cracking as it shrinks, tensioned between responsiveness and resistance to artistic manipulation.

Both artists appreciate-if not gorge upon-the physical personality of clay, playing to seize a tension between the predictable and unpredictable. For aesthetic ends, they seek the shrinkage, the cracks, and the changes in color created through drying and firing.

Alternative Porcelain

Maryland Hall for the Creative Arts   Annapolis, MD

February 18 - March 25, 2005

An exhibit of six artists who use porcelain with distinctive touches, yet all of whom expressively oppose the association of porcelain with white, formal ware.

Margaret Boozer
James Makins
Mary Roehm
Erin Root
Sandy Simon

Catherine White

Avoiding pat answers, these artists have evolved approaches to porcelain form that seek meaning and feeling in the collision of the precise with the organic. Unpredictability in forming, drying or firing or the border between opacity and translucency all become artistic fodder. Each artist defines his or her relation to ceramic tradition and production differently. Yet each object manifests an alternative tension between porcelain as a roughened, paltry material or a princely substance.

[For exhibit hours]

Metro Clay: An Invitational Exhibition - Kenneth R. Trapp, Curator

Ellipse Jar,  Frederick (H 18" x W14")

Rockville Arts Place, Rockville MD

February 20 - March 25, 2005

In conjunction with the National Council for Education in the Ceramic Arts 2005 conference, Kenneth Trapp curates this unique invitational. Showcasing thirteen Washington area ceramic artists, the exhibition demonstrates the range of artistic styles and techniques present in this area.

Rob Barnard-Margaret Boozer
Judy Kogod - Solveig Cox
Rebecca Cross - Robert Devers

Warren Frederick - Jill Hinckley Kevin Hluch-Joyce Michaud
Winnie Owens-Hart

Gary Schlappal - Catherine White

The Poetry of Pottery

Stem Across Field Platter,  White (H 1.5" x W19")

Maryland Federation of Art

330 North Charles Street
Baltimore, MD 21201

March 2 - March 30, 2005

An exhibit featuring twenty women in clay from across the country, curated by Kevin Hluch.

The Potter's Hand

Kwiri Culture, Cameroon (13" x 10")

Douglas Dawson Gallery

Chicago:  April 1 - May 20, 2005

Opening Friday, April 1, 5 - 8pm

This is Dawson's third major exhibition of African ceramics. [Check the website for images.] Another beautiful catalog is available. The gallery has also moved to a new location

400 North Morgan St, Chicago, Illinois 60622


[Catalog available, 128 pp]

Catherine White

June 2004 Woodfiring

Page 1 | Page 2 (wg2)

Gwyn Hanssen Piggott

at Galerie Besson

London, June 2-30, 2004

The Art of African Clay

Matakam, Chad (13" x 10")

Douglas Dawson Gallery

Dawson's major exhibition of African ceramics was held in March/April. The website has an inspiring set of (39) images. The printed catalog with 50 color photographs includes two essays:  one by Barbara Thompson, curator at the Hood Museum of Art, Dartmouth College, Unearthing the Buried Identities of African Ceramic Artists. The other essay is by Warren Frederick [of Artistpotters], The Inescapable, Indivisible Essence of Pottery.

222 West Huron, Chicago, Illinois 60610


[Catalog available, 112 pp; $28 plus shipping/tax]

Rob Barnard

Dai Ichi Gallery

New York City

November 11-28, 2003

Reception: Tuesday, Nov 11th, 5-7

Dai Ichi Gallery

249 East 48th Street

New York, NY 10017    212-230-1680

Isamu Noguchi and
Modern Japanese Ceramics

[Slab Plate, 1952]

To January 11th, 2004

Japan Society, New York City

An exciting exhibit of Noguchi's work in clay, both sculptural and functional, some created during visits to Japan in 1931 and 1950, but mostly made while living at Rosanjin's compound in 1952. The exhibit also focuses on Japanese ceramic artists such as Kazuo YAGI, ROSANJIN, and Toyo KANESHIGE as they tussled with sources of artistic and ceramic inspiration in the 1950's.zuo YAGI's seminal work is featured in the exhibit. ArtistPotters will be making several of Yagi's articles available.

Catherine White
Warren Frederick

Troyer Gallery
Washington, DC

Evolving Forms

Reception: Friday, Nov 7th, 6-8 pm

November 7 - December 20

Troyer Gallery

1710 Connecticut Ave, NW

Washington, DC  20009


December 2002

Exhibits in NYC

Rosanjin Kitaoji

Franklin Parrasch Gallery

September 20, 2002 - October 19, 2002

Rosanjin, (1883-1959) is known for the wide ranging ceramics he touched. Sidney Cardozo wrote, "the amazing thing about Rosanjin was that he had but to put his hands on a pot or a plate or a bowl and no matter who had produced the object, suddenly by a pinch of the fingers, a twisting of shape, an unbalancing of form, a scratching with a sharp tool, or a flick of the brush, the object became his and his alone." (The Art of Rosanjin, Tokyo: Kodansha, 1987, p. 13)

Look for the slide show under past exhibitions on the website.

20 West 57th Street [212-246-5360]

[printed catalog available]

Contemporary Japanese Ceramics at

Zetterquist Galleries

September 15th - 27th, 2002

Tall Vase 47cm - Kuroda

Celadon Bowl 47cm- Yagi

Kuroda, Taizo

Takiguchi, Kazuo

Yagi, Akira

120 East 64th Street (212-751-0650)

NY Tea Party

Dai Ichi Gallery

September 12th - October 5th, 2002

Michael Simon teapot

Fifty teapots by 14 artists: Robert Brady, Wayne Branum, Rober Briscoe, Linda Christianson, Mark Hewitt, Randy Johnston, Jan Mckeachie Johnston, Warren MacKenzie, Ron Meyers, Michael Simon, Sandy Simon, Mark Pharis, Mary Roehm, Jeff Shapiro

249 East 48th Street (212-230-1680)

The Potter's Brush:

The Kenzan Style in Japanese Ceramics

Freer Gallery of Art

Washington, DC

December 9, 2001 - October 27, 2002

"The brilliant designs on pottery vessels issuing from the workshop of Japanese artist Ogata Kenzan (16631743), including mountain landscapes, showers of multicolored maple leaves, famous scenes from classical Japanese poetry, and bright concentric circles modeled after a child's toy top, captivated an audience of wealthy merchants who showcased the witty, colorful works in their reception rooms, studies, and tea-ceremony huts. The Kenzan style, which incorporates images from literature, painting, crafts, and ceramics, was popular during the artist's lifetime, as one eighteenth-century Kyoto guidebook deemed 'Kenzan ware' an indispensable souvenir, and continues to be a distinctive mode of Japanese ceramics today."

September, 2001


From September 6-28 there is a solo exhibit in Washington, DC at the Japan Information and Culture Center (JICC) [Lafayette Centre Mall Level; 1155 21st Street]

Shimaoka, known for his rope-impressed surfaces, was named a "Living National Treasure" in 1996. There is a short article by Rupert Faulkner (in conjunction with an exhibit at Galerie Besson with 16 website images) as to why Shimaoka's work is not mingei, but is the product of ideas. The current issue of Studio Potter is also devoted to Shimaoka; it includes the text of the talk Shimaoka gave at the JICC opening.

Shimaoka will be 82 years old in October. Eleven years ago he wrote an essay titled, "My Work in the Next Years" which stated, "I would like to keep the same basic attitude in my work, but within these limits, I hope to do work that is more selfish and unrestrained."

Some of Shimaoka's ropes and stamps for inlay

[From Shimaoka Tatuszo: Keramiken by Gisela Jahn and Anette Petersen-Brandhorst; Verflag Fred Jahn, 1987, page 53]

April 2001

gallery W.D.O.

A recent exhibit [September 2000] in North Carolina which includes work by Rob Barnard

and Warren Frederick, with a (postcard) background image of the White-Frederick kiln.


April 2000 - (Last update, April 28, 2000)

There are two exhibits this month.

First there is selected work from White and Frederick's April anagama firing.

Then, there is a look back to 1995 at Rob Barnard's 20-year retrospective exhibit. This show was sponsored by the Sasakawa Peace Foundation in Washington, DC. The catalog included a statement by Barnard and an essay by the curator, Jane Addams Allen.

March 2000

We plan to take advantage of the Internet's ability to quickly assemble and to conveniently reach an audience that in person, has little opportunity to read about or to see provocative exhibits of pottery. Yes, we know that touching is everything, but if there is little or nothing to handle, there is much value in merely seeing.

You'll find that "provocative" here doesn't mean turning pottery into non-physically useable vessels; it does mean arguing for the austere. We'll be providing some exhibits on individual artists as well as a focus on particular forms; perhaps the under-appreciated cup; storage jars; and vases for weed-flowers. We will be adding some articles on the practical uses and abuses of history and on the problems and potentials of craft.

Please check back and provide your comments as we get up to speed. Thanks!

contact ArtistPotters at: <wf> at <artistpotters.com>

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