Hurry up and Apply! CraftTexas 2012 Call for Artists Closes March 15th!

The CraftTexas 2012 call for artists will soon be coming to an end. All of us at HCCC encourage every one of you procrastinators out there to hurry up and submit your applications before March 15th.

The CraftTexas series began in 2002 and is one of the most significant exhibitions in the Texas craft community. For HCCC, it is an event deeply rooted in the core mission of our organization, and it serves as a starting place for the general public to appreciate the depth and breadth of craft being made in our own communities and across the state. To me, the excitement comes in seeing the incredible variety of work being created across Texas. Every craft medium is represented, and the show includes both functional and non-functional work. The historic traditions and legacy of craft can be seen along with works that exemplify contemporary conceptual craft.

When I was thinking about writing this blog post, I began to wonder about the artists who participated in CraftTexas 2010 and where their careers have taken them. So, I sent an email to a few of the artists who participated two years ago, asking them for an update and a photo or two of new work. Although my request was a little last minute, I received three responses! Catherine Winkler Rayround, Kira Kalondy and Rebekah Frank sent me brief statements summarizing their current artistic endeavors and accomplishments. Keep reading below to learn more about these artists, and, if you’re an artist, we hope you’ll apply for Craft Texas 2012!

Catherine Winkler Rayroud, Award of Merit winner for CraftTexas 2010, practices the art of paper cutting. In an email response to me, she wrote:

“Winning the merit award at CraftTexas 2010 was very important for me and led to some other wonderful opportunities. The same year, I won a juror’s award at CraftForms 2010, taking place at the Contemporary Craft Center in Wayne, PA, which was followed by another merit award at the 25th International Juried Show taking place at the Visual Arts Center in Summit, NJ. These two shows had jurors coming from the Smithsonian Institution in Washington, D.C., and the Guggenheim Museum in New York. The interesting thing with my paper cuttings is that I seem to constantly be able to cross the fine line between craft and contemporary art, and I feel very privileged to have found a medium that enables me to express my feelings, but also allows me to be a mirror of what is happening in our world today.”

“I also have a passion for the history of paper cuttings, and so I have been invited to give lectures and talks about this intricate art, which crosses borders and is practiced in many parts of the world. Last year, a museum in Germany asked me to organize a juried exhibition for the Guild of American Papercutters, and this show should start in June of this year if all goes well. Last year again, June Woest, from Urban Artists (www.junewoest.com), asked me if I would like to make a billboard, which would be exhibited along Bellaire Boulevard during the summer of 2011. The billboard was called ‘Enjoying the Rat Race???’ and was a wonderful experience and a completely new field for me.  Recently, I was invited to have three of my paper cuttings in the show, The Art of Seduction, taking place at the Rouse Company Foundation Gallery at the Howard Community College in Maryland, and curated by Gail Brown, who was one of the jurors of CraftTexas 2010. So lots of good things have happened to me, and it is very humbling to be able to do what I love most--paper cutting--and be able to get some recognition for it. I also started ‘cutting’ a book about women, and we will see where this new journey takes me.”

To read more about Catherine, visit http://www.catherinewinkler.com/Catherinewinkler/Home.html

Catherine Rayroud. Mama Rebel Biker.  26" x 18.5". Photo by C. Winkler Rayroud.

Catherine Rayroud. Billboard: “Enjoying the Rat Race??? Photo by C. Winkler Rayroud.

Kira Kalondy, is a ceramic artist and metalsmith, who responded:

“After 2010, when I was selected to be included in Craft Texas 2010, I was also selected for the juried show, Texas National 2010, and was awarded an honorable mention by juror Judy Pfaff. Also, I was part of the 5th Annual Intercollegiate Metals Exhibition held by Arizona State University in Tempe, AZ, and was awarded fourth place in the sculpture category. Besides this, I had a solo show called New Ceramics at Mary Hardin Baylor University in Belton, TX.”

“In 2011, I participated in some group shows, to name a couple: Sculpting Space at Goldesberry Gallery, in Houston, TX; Emerging Artists in Texas at College of the Mainland in Texas City, TX; and I also taught a two-day ceramic workshop at College of the Mainland.”

“Right now I am about to finish a Museum Studies Certificate from Stephen F. Austin State University (SFASU) in Nacogdoches, TX, and I work as the Event Coordinator for the SFASU Art Galleries (The Cole Art Center and the Griffith Gallery). This month of March, I have a solo show called Fusion at Lone Star College – Montgomery County in Conroe, Texas. The show runs from March 5-30, with a closing reception on the 29th.”

Be sure to check out her webpage at www.kirakalondy.com.

Kira Kalondy, Génesis. Ceramic, 9” x 22.5” x 12.5”, 2012. Photo by Christopher Talbot.

Kira Kalondy, Amanecer. Ceramic, 15” x 22” x 18”, 2012. Photo by Christopher Talbot.

Kira Kalondy, Lapislázuli. Ceramic, 10” x 22” x 23”, 2012. Photo by Christopher Talbot.

Rebekah Frank, a jeweler and metalsmith from Wimberly, TX, shared the following:

“I am currently at the Cranbrook Academy of Art, graduating in May with an MFA in Metalsmithing. I am working on a body of work, Catenate Collection, that will be shown at the Cranbrook Museum as part of the Degree Show exhibition. I will have work in the traveling exhibition, Mirror, Mirror, which will be shown at Espace Solidor in Cagnes-sur-Mer, France, and Velvet da Vinci in San Francisco, California.”

You can find more of Rebekah’s work on her website: http://rebekahfrank.com/home.html

Rebekah Frank. Catenate Collection, Various Necklaces, 2012.
Steel, 18 karat gold or silver solder. Photo Credit: Rebekah Frank

--Ashley Powell, HCCC Curatorial Assistant

Preparation for a New Year – New Exhibits!

At HCCC, we are beginning our New Year with two exciting new exhibitions!  Lisa Gralnick: The Gold Standard and Inverted Harmony: A Handmade Environment by Jenine Bressner  open on Friday, January 21, from 5:30 – 8:00 PM.  If you visit our galleries before the opening reception, you will be greeted by a small sign asking you to “excuse our mess,” as we are in between exhibitions.  This doesn’t mean there isn’t anything happening in the galleries; our staff is busy behind closed doors getting the space ready for the new exhibits.

Two of our favorite staff members de-installing
Marianne McGrath’s piece, Yours, Mine & Ours…,
from the CraftTexas 2010 exhibition that just ended.

What happens behind those doors, you ask? At a larger institution, such as the MFAH, there is a preparation and installation department, often shortened to “prep department.” The department works tirelessly prior to exhibitions—painting gallery walls, installing complicated sculptures and making sure all the artwork is lit and ready to go.  Here at HCCC, we don’t have a separate prep department.  Instead, multiple members of our small staff pitch in to help take down and put up new shows. This means that one week, we could be researching and writing text panels, and the next week, we could be painting pedestals.

In the upcoming weeks, we will have posts about these two new exhibits, but for now, we are in the galleries getting the space ready for the opening reception—we hope to see you there!

Happy Holidays from HCCC!

Happy Holidays from Pancho the Reindog and everyone at HCCC!

We want to wish everyone a wonderful holiday break and happy new year from the HCCC “birthday blog.” Thank you to all of our supporters for making this a great year!

If you haven’t been by HCCC to see the most recent exhibitions, Craft Texas 2010 and The Color of Enamel: New Work by Leighelena, you still have time. Craft Texas 2010 is open through Thursday, December 30, and Leighelena is open through January 30. So, please stop by with your friends and family—admission is always free!  (Please note that HCCC will be closed December 25-27 and December 31- January 3 for the holidays.)

If you have never joined HCCC as a member or even if you have, now is a great time of year to join or renew your membership.

Your gifts of $100, the price of a Crafter level membership for two, are being matched – dollar for dollar – by the Windgate Charitable Foundation. Click here to donate now and celebrate ten years of free exhibitions, education programs, and the next decade of HCCC.

What is your Craft Texas 2010 Favorite?

With the exhibition Craft Texas 2010 closing at the end of the month, we thought it would be fun for staff to share their favorite pieces from the juried show. Surprisingly, no two staff members chose the same work! If you haven’t had time to see the exhibition, it’s not too late. The show is up through Thursday, December 30, 2010. Please note we will be closed December 25-27. If you’ve visited the exhibition, please share your favorites in the comments below!

From left to right, Catherine Winkler Rayroud’s paper cutting Mama Never Told Me,
Emily Black’s deer head sculpture A Woman’s Place is in the Home and  Gabriel Craig &
Amy Weiks brooch Four Legged Leaders in the wall frame. Photo by Jack Zilker.

Facilities and Operations Manager, Randall Dorn, likes Leslie Lewis’s Arachne because it is a personal reminder of two of his favorite things: spiders and his wife, Amber.

Julie Farr, Executive Director, chose Catherine Winkler Rayroud’s piece, Mama Never Told Me, because of the intersection between a very traditional craft practice of paper cutting and the contemporary commentary on how women are educated in our society.

The richly colored Crop Wing by Kurt Dyrhaug is the favorite for Asher Sales Associate and Gallery Attendant, Bianca Gutierrez. She is drawn to how the work seems to be a much smaller version of something that should be larger than life.

Selecting a statement piece of jewelry, Communications Director, Mary Headrick, chose Robly A. Glover’s Bobber Necklace #3 as her favorite work in the show. The work jumped out at her right away because of its bold colors, interesting use of materials, and fun shape the necklace takes.

From left to right, Danny Kamerath’s wooden cabinet Shafer,  Roger Deatherage’s Library
Chair and Brazos Dining Chair,  and Kurt Dyrhaug’s Crop Wing. Photo by Jack Zilker.

Education Director, Carol Klahn, selected Gale Gibb’s Matchbook Collection as her favorite work. She likes the depth and unity in the piece from afar and the unexpected surprise of multiple items when you get closer. It is a piece you can continue to look at and never tire of.

The beautiful and functional Library Chair and Brazos Dining Chair by Roger Deatherage are favorites for Marina Lewis, Volunteer Coordinator, who explains how all she wants to do is sit in them.

Donna Muniz, Finance Manager, described how Shafer by Danny Kamerath was her favorite because of the intricacy in how each of the drawers fits together, the wonderful selection of wood choices and how the piece perfectly soaks up the light in the area in which it is displayed.

Harlan Butt’s two pieces, Weminuche Horizon #1 and Texas Horizon Oak #1, are favorites for Gallery Attendant, Ashley Powell. She is blown away by the high-quality enamel depicting nature on the sides of the vessels and the intense labor behind the process.

On the left, Caprice Pierucci’s wooden sculpture, Convergence and through the doorway
Marianne McGrath’s ceramic installation piece, Yours, Mine & Ours… Photo by Jack Zilker.

Suzanne Sippel, Asher Gallery Manager, selected Four Legged Leaders by Gabriel Craig and Amy Weiks. She likes the combination of repurposed materials, including coins and metal. The piece displays a high level of skill behind bringing these materials together.

After helping artist Marianne McGrath install her piece, Yours, Mine & Ours…, Curatorial Fellow, Anna Walker, has selected it as her favorite. She likes how the artist piles together numerous, small and delicate ceramic pods to form an impressive structure that towers above viewers’ heads.

Web and Marketing Assistant, Jenny Lynn Weitz, loves the honesty and evidence of the artist’s workmanship in Caprice Pierucci’s work Convergence. Although the work is very large and durable, it appears delicate. Jenny Lynn describes how every time she sees the piece she wants to jump through the opening.

Nyala Wright, Associate Director of Fundraising, is drawn to Emily Black’s piece, A Woman’s Place is in the Home, because it challenges traditional notions of fascism and matriarchy.

Introducing Our New Artists-in-Residence: Clark Kellogg

A native of Houston, TX, Clark Kellogg has been interested in woodworking and furniture making since he was 14, when he and his father started building small projects in the family garage. He received his BA from the University of Virginia. He is formally trained as a furniture maker, graduating from both the Center for Furniture Craftsmanship's Nine-Month Comprehensive program and the College of the Redwoods esteemed Fine Woodworking Program.

Clark with his piece, Garden Bench,
for which he received  an
award-of-merit in Craft Texas 2010.

I've known about the residencies at HCCC since the organization was founded in 2001, because I've visited the center all these years. I wanted to apply for a few years, but I wasn't settled in Houston. I was traveling back and forth between home and school. Also, I didn't have enough work until recently for a complete application. Once I knew I was going to be in Houston for a few years, and had a larger body of work, I applied.

Part of the plan for my residency is to use it as an opportunity to promote myself and my work in the Houston community. I want to interact with visitors, be part of educating them about what fine furniture can be and how much work goes in to making custom furniture. While in my residency, I hope to balance making some larger furniture pieces with smaller work focused on letter carving. Letter carving is a new area for me and it's exciting to explore and see where this new skill will will take me.

Hemlock Wall Cabinet,
by Clark Kellogg, photo by David Welter.

Music Box, by Clark Kellogg, photo courtesy the artist

.

Little Squam (detail image), 
by Clark Kellogg, photo courtesy the artist.

 You can find our more about our current artists-in-residence on our website.

Want to Know More About the Award-of-Merit Winners from CraftTexas 2010?

We do! So, we took some time to talk with the three award winners and wanted to share a little more about the pieces that won.

To Left: Clark Kellogg with Garden Bench.
Bottom Right: Catherine Winkler Rayroud with Mama Never Told Me.
Top Right: Eskimo Kisser #3 by Gary Schott

First up, Clark Kellogg is currently an artist-in-residence at HCCC and won an award-of-merit for Garden Bench. 

In your artist statement you talk about the importance of material, in the case of Garden Bench why did those pieces become a bench rather than a cabinet?
Sometimes my furniture starts with the wood and ends with the piece. In the case of Garden Bench, the opposite occurred. Here I found pieces of wood to fit with the concept and design of the bench.
 
Why do you choose to make furniture? 
I love making things with wood. I want to make something quiet and friendly that will become a part of someone’s home and for me that is found making furniture. I believe it is important to have your interaction with a space be positive and furniture can really determine how you interact with space.

Also creating interactive pieces, Gary Schott is Chair of the Metals department at the Southwest School of Art, and won an award-of-merit for Eskimo Kisser #3. Below is a video of the piece.

Can you talk about the importance of interaction in your work, specifically is Eskimo Kisser #3 meant to interact with two people?  

Yes, this piece is meant for two people to interact with. I’ve created others that focus on the importance between the intimate experience between the piece and the person but this is an object for two people. I intend for the devices to be playful and provide a cheeky reaction to modern technology. In a sense, it is akin to how texting provides a technological interaction or interface between individuals, but here it is an object reminiscent of nostalgic toys.

Are people meant to actually touch noses with the piece and how did that dictate your material choices? 

Yes, your nose is supposed to touch and so material choices were very important. I tried out many different materials and wanted to find something that was desirable for someone to touch with their nose. I had an “a-hah” moment when someone reintroduced me to needle felting.

The third award-of-merit winner was Catherine Winkler Rayroud for her paper-cut piece, Mama Never Told Me.

Mama Never Told Me,by Catherine Winkler Rayroud, 
photo courtesy the artist

What narrative are you creating in the imagery in your piece, Mama Never Told Me?
This piece is very personal and illustrates the examples I was given about a woman’s place in society while growing up in Switzerland. There were certain things my Mother would say but do differently. For instance she would say a woman shouldn’t study because she won’t find a husband, but then I saw how she would write books in her spare time and be unhappy that she couldn’t find more time for these activities. This piece documents the personal journey I went through as a girl becoming an adult and the awakening I had after coming to the United States ten years ago. I often wonder what would be different if I would have been able to grow up here, would things have been different?

For those who aren’t familiar with paper-cutting, can you explain the process?
All of the paper-cuts are done from one sheet of paper with nail scissors and sometimes an exacto-knife. In this piece, I only used nail scissors. Initially I fold the sheet in half to cut the symmetrical images. Then I unfold the paper to cut the asymmetrical images, the difference in the mirror images is meant to be playful, the viewer can try and find the differences.

An Interview with the CraftTexas Jurors, Part III

CraftTexas 2010 is the sixth in a series of juried exhibitions showcasing the best in Texas-made contemporary craft. To give our audiences a better understanding of the jury process, our three jurors have agreed to answer a few questions.

Below is an interview with Paula Owen. Paula is the president of the Southwest School of Arts and Crafts in San Antonio and a practicing artist. She has also chaired the Cultural Alliance of San Antonio, and served as project director for the Women and the Craft Arts National Conference at the National Museum of Women in the Arts, Washington, D.C.

Were you familiar with the exhibit CraftTexas Series from Houston Center for Contemporary Craft before being asked to be a juror?

Oh yes! You can’t be a craft aficionado in Texas without knowing about CraftTexas. I know many of the artists who have been selected in the past and have always been impressed with the range and quality of the work.

When reviewing CraftTexas 2010 entries, did you see any common themes in the works submitted?

In my experience as an educator, curator and writer, I have found that there tend to be trends within disciplines. A certain style or technique will dominate for a while in fiber or painting or ceramics, etc. However, in an exhibition that includes a broad array of art forms and materials, it is less common to see similar themes. Having said that…works of art in general are very often drawn from personal experience and nature.

How did you choose what entries received the highest marks?

Judging is not an exact science, of course. One must use both cognitive and intuitive knowledge and draw from one’s own experience. In my case, as an artist myself, I have preferences for works that convey ideas, originality, command of the medium, and something that’s hard to describe – eccentricity, perhaps? It’s that unexpected element that stops you in your tracks.

What advice would you give artists wanting to enter CraftTexas 2012, or juried exhibits in general?

Naturally, your images need to be superb. Good lighting can make or break your chances of being selected. I suggest that you find a professional photographer. Also, most artists are too close to their own work to see it clearly and should invite critique from other artists. This step can help in one’s overall evolution as an artist and in deciding on which works to submit.

An Interview with the CraftTexas Jurors, Part II

This Friday is the opening of CraftTexas 2010, the sixth in a series of juried exhibitions showcasing the best in Texas-made contemporary craft. To give our audiences a better understanding of the jury process, our three jurors have agreed to answer a few questions.

Below is an interview with Cindy Hickok. Cindy is an internationally acclaimed fiber artist who ingeniously borrows from the “Old Masters” of art history for her clever, embroidered works. Her work has been exhibited in museums throughout Europe, Asia and North America, including the Metropolitan Museum of Art, New York.

Were you familiar with the CraftTexas exhibit series from Houston Center for Contemporary Craft before being asked to be a juror?

Yes. I entered all the CraftTexas and CraftHouston shows. My work was rejected from CraftHouston 2002 and 2004, but accepted in CraftHouston 2006 and CraftTexas 2008.

When reviewing CraftTexas 2010 entries, did you see any common themes in the works submitted?

I saw more combinations of materials. One can no longer say "fiber" or "metal" etc., because artists are combining materials and techniques and defying any one category. Imagination has no boundaries.

How did you choose what entries received the highest marks?

Most of those who entered work are experienced and accomplished artists, so I know their work is good. A juror has to look beyond, to find the really exceptional pieces, especially when only a small percentage will be placed in the exhibition. I look for, first, honesty and integrity in design (which eliminated a lot of gimmicks), then quality construction, and finally, innovation. I wanted each piece to draw me in for a closer look and then to reward me when I did. I also read the artist's titles and explanations for further clarification, as each piece was unique and deserved thorough consideration.

What advice would you give artists wanting to enter CraftTexas 2012, or juried exhibits in general?

An artist will never achieve recognition unless he enters juried shows, and the greater the competition the greater the rewards. The very best artists have all experienced the disappointment of rejection, and one must learn from it. When I receive a rejection notice I mope about it for awhile, then I go through an I'll-show-them attitude, and finally I take a hard look at my work and ask myself how I could have made it better. One learns much more from rejections than from successes.

An Interview with the CraftTexas Jurors, Part I

This Friday is the opening of CraftTexas 2010, the sixth in a series of juried exhibitions showcasing the best in Texas-made contemporary craft. To give our audiences a better understanding of the jury process, our jurors have agreed to answer a few questions.

Below is an interview with Gail M. Brown. Gail is an independent curator of contemporary craft whose focus is to enhance visibility and education about contemporary craft in the larger visual arts community. She trained as a print maker at the Philadelphia College of Art, and she has been watching the contemporary crafts movement since the early 1970s. Her recent exhibitions have been hosted at Baltimore Clayworks, the Hoffman Gallery of Oregon College of Art and Craft, the Fuller Craft Museum, the Woodturning Center and many more.

Were you familiar with the exhibit CraftTexas Series from Houston Center for Contemporary Craft before being asked to be a juror?
 
Yes, I have several catalogues from previous CraftTexas shows in my library. I know the work of certain artists quite well.

When reviewing CraftTexas 2010 entries, did you see any common themes in the works submitted?
 
I recall some trends to large forms.

How did you choose what entries received the highest marks?
 
I respond to tactile work with thoughtful, arresting and often provocative content, to ideas and personal narrative. I look for passionate exploration of the chosen media. I look for a sustained personal visual vocabulary.

What advice would you give artists wanting to enter CraftTexas 2012, or juried exhibits in general?

Be personally self-critical: edit your work before you send it out in the world. Is the work you are sending out truly your ideas: that’s what I want to see. Make the juror eager to do her homework to see more of your work after this “introduction.” Make the images work their very best for you- you know best what you want to convey. Do the images do that for you?