Shannon Goff, Dashboard
2003, ceramic
22 x 88 x 28 inches
Departmental Philosophy
The philosopher Martin Heidegger once said, “Questioning is no longer merely a step that is surmounted on the way to the answer and thus to knowing; rather, questioning itself becomes the highest form of knowing.” It is our belief that questioning is a craft like any other. It can be taught and learned. Ultimately the quality of the questions one puts to one’s work to some degree determines the nature of the work. Here we interject the ancient “ceramic.” We also interject new technology, like the wireless firing of kilns and a connected laptop in every studio. Now we see a 20,000-year tradition of clay working, aligned with the history of theoretical thought, linked to immediate transformational access to our world.
The hybridizing of this potential is what ignites the program. We can add more components to the mix. We can add that lines between art, craft, architecture and design have become blurred. That laser cutting clay is here and that ceramic rapid prototyping is on the horizon. Our world still relies on centrifuge to stop the moon from falling to earth; hence our wheels still spin and the quest for “beauty” is still in our language.
The first year is seen as a time of probing all these possibilities, a rebirth of sorts, hitting dead ends, asking, “what is a good idea?” Testing possibilities, looking “over the edge,” engaging meaningfully with other departments, learning their language. Attending their crits. With all this, help is at hand.
Robert Raphael, Flora 2 detail
2003, ceramic
dimensions variable
Program
The selection of students determines the texture of life in the studio. So important, so critical. The interaction of students between students (there are only sixteen students in the entire department) and between the Artist-in-Residence takes many forms from the formal to the informal. The Artist-in-Residence can meet with every student for an individual meeting every week. This is available but not required. Every week we usually critique three students. Every student is critiqued by the group twice per semester. Attendance is required by all, and some students from other disciplines are usually present. Interested in what we do. Each week we have a seminar presented by one of the ceramics students with the subject assigned by the Artist-in-Residence. Attendance is required. The informal goes beyond structure. These are the moments in the studio, around the kitchen table, where interchange happens. Most important. This is a dense intimate community where interaction never stops. We are all about creating velocity, whatever it takes.
Over the years and with the financial help of private individuals and foundations, we have traveled the world to study, exchange ideas, and to look. To Korea, London, Holland, Mexico, Spain, and Greece. We hope to continue such inspirational and bonding pursuits.
Sara Blakeman, The Hierarchy
2003, pigmented porcelain, foam, plaster, glitter, pom-poms and wood
dimensions variable
Facilities
In 2002, we moved into the elegant and highly -functional new studios designed by the award-winning architect Rafael Moneo. After a four-year test we have found that the facility works extremely well. In addtition to the usual ceramic equipment, we have seven state-of-the-art (and beyond) large gas kilns for our 16 students. The kilns were brought from Holland, designed by Gerrard Blaauw, who designed the equipment at the European Ceramics Work Centre. There is one updraft, one downdraft, one soda, and one salt. The other three are computerized and programmable for temperature increase and gas/air ratios.
There are also five electric kilns. In the studio, there is a computer lab for the exclusive use of ceramics students. All of the studios have network connections with web access, and the laptop increasingly has become as much a part of their studios as the wheel. The ceramics studio has its own fully-equipped kitchen and dining area.
Ayami Watanabe, Bricks
2005, ceramic
dimensions variable
Some Recent Alumni Activities
Abigail Murray, 2005. Residency, European Ceramics Work Centre.
Heather Erickson, 2004. Fulbright Fellowship to Finland. Also won first place Horizon award at the Museum of Design in New York. Currently teaching at the University of the Arts in Philadelphia.
Zach Hamilton, 2004. Teaching at Athens, Ohio. Residencies at Bemis and Oregon College of Art.
Shannon Goff, 2003. Residency at Kohler Company. Shows with Franklin Parrish, NY.
Jacque Liu, 2002. Fulbright Fellowship to Germany.
Gioy DeMarco, 2001. Teaching at Long Beach State University.
Karyn Olivier, 2001. Residencies at Glassell and P.S.1.
Christian Tadeski, 2000. Teaching at College for Creative Studies, Detroit, and University of Colorado, Boulder.
Mia Fetterman, 2000. Teaching at University of Colorado, Denver.
Kara Duncan, 2000. Gallery owner, Denver, Colorado.
Tom Mueller, 2000. Teaching at Long Beach State University.
Heather Mae Erickson, Untitled
2003, porcelain, plywood and formica
30.25 x 46.2 x 46.25 inches