Jennifer Waverek has 30+ years of experience in brand strategy and graphic design, working both in-house and as a principle partner in her own creative agency. Jennifer is worked for fortune 500 companies such as Martha Stewart Living, Clinique, and Donna Karan to local boutiques and art collectives. Jennifer holds a BA in Visual Arts and Art History from Columbia University. Jennifer has shown work in the disciplines of painting, printmaking, graphic design, and handbuilt ceramics. Jennifer is the creative director and brand strategist behind BKLYN CLAY.
Do you have something you use to keep a schedule for people to sign into and grab the space that they need to?
No, we don’t. We do have a schedule if you want an outside firing appointment though and if you are not a member at the studio you can sign into that.
How do you stay organized so you dent have people waiting for a the wheels or waiting for the hand building stations to open up?
Mostly it works. It just happens to work out. I suppose there is a Sunday or a Saturday afternoon where it will be really busy but mostly things just manage to work out. We have a classroom that is open for Open Studio hours so if the members room is too full you can always bounce over there. Somehow the numbers are right and the amount of space is right.
When you have classes going on do you also have Open Studio space for people to come 24/7?
Correct. Members have their own space where they always go. When a class is happening there is always a space open…that’s not always true because sometimes in the evening we have classes overlapping but we mostly try to create Open Studio space so that you can always get stuff done.
How often are you guys doing classes throughout the week?
Everyday. Everyday we have at least…I mean I think we have light days where there are maybe two classes, but there are five classes most days.
How far in advance are you planning out your class schedule?
Well right now we are getting ready to start winter and we will in a week start on spring. We will start confirming spring. And that will be 12 weeks from now that that will start.
Did you write out job descriptions for the various positions sort of like what the E-Myth kind of describes?
Yes, we actually have a pretty extensive operations manual that we’ve managed to write over time. And within that we were able to define job descriptions for everyone so it’s clear what you are doing and what’s expected of you. And the teachers are all independent and we want them to be, we want a rich mix of people coming out so they have different things that they are bringing to the table. But there is a general syllabus, there’s a sample that we ask them to adhere to, well not adhere to but if they are working with beginners they are hitting certain benchmarks and if working with advanced there are certain benchmarks, that kind of thing.
Rachael Sewell is a ceramic artist and candle maker based near Bristol, in the South West of England. After graduating in 2020 with a degree in Buying and Merchandising, Rachael combined her business acumen with her creative passions, launching a line of sculptural candles in 2021. Driven by a desire to explore new mediums, Rachael soon discovered her love for pottery during an intensive course, which ignited her current practice in ceramics. Rachael’s work is a playful yet thoughtful exploration of artistry and everyday utility.
Do you start from the premise that all things are learnable?
Yes, I do think that, especially with me I learn best on the job and I make so many mistakes behind the scenes. People don’t see but I have made so many mistakes, especially with ceramics it is so easy to put something in the kiln and it comes out just completely gone wrong. I put a lot of time in and it is a lot of trial and error.
About your style and color palette. Do you try and make sure your colors fit together?
I think that is part of it, absolutely. That could be part of your style if you stick to one color palette it is just easier in that sense and make things look cohesive. But I do think it is important to take inspiration from things that inspire you. So that your work reflects you.
Do you have a Pinterest that you keep track of, do you have bookmarks? Tell me how you keep track of the things that are inspiration for you.
Yeah, absolutely. I am not against Pinterest, I do look on there. I take inspiration from all sources. I take inspiration from other artists. I take inspiration mainly from the world around me and what makes me feel the most impacted. And with that it’s different architectural forms and I just try to translate that into my work.
How do you get feedback from trusted people?
What do you mean by that? You mean my customers?
I mean before you put it out in the world. Or is it just an internal thing that is self initiated?
I think if I am going to be quite honest, whenever I have made work to try and please other people it’s actually been my worst pieces. So I actually always say make stuff that you like and just trust that people will find you. As an artist that is the way I like to think.
Does the style of your presentation matter also?
As in the image of my brand?
Yes.
I actually just try and keep it quite minimal and quite clean. I think it does matter. I try to keep it as professional looking as possible. When I started I wasn’t very good at photography but I have definitely learned that along the way.
What has got you excited and what has got you challenged in the studio?
Excited to make bigger and more intricate lamps. And challenged to keep getting on the wheel because I don’t go on that enough and I would like to continue to get better at that.
Sometimes it’s unclear what the difference is between art print companies, especially if you compare them online. However, all of us can agree that high-quality printing can make or break the display of a piece. High-resolution, well-crafted prints bring art to life, capturing the vibrancy, details, and textures that a lower-quality print might miss. With advancements in printing technology, fine art printing has evolved into a specialized service. In this guide, we’ll explore the benefits of using high-quality art printing services and why it’s worth the investment for collectors and creators.
#1 Maintaining Originality and Detail
A major benefit of high-quality art printing services is the ability to reproduce broad and accurate color spectrum, contrast and details of the original, fine art. Standard printing processes may fail to capture super fine brushstrokes, texture, and shifts in tone that create a special feeling when we look at art. So art printing companies that use high-resolution giclée or specialized pigment-based inks can offer reasonable fidelity.
If you plan on using the art printing service yourself, you must have a high-resolution, digital file to print from that’s at least 300 dpi and saved as a png or raw file. jpegs are compressed images and the file compression may show up printing large posters.
Sir Frederic Leighton, La Nanna
#2 Using Archival-Grade Materials
Archival-grade materials are designed to last decades without fading, yellowing, or warping. This level of durability is essential for anyone looking to keep their art prints in pristine condition over the long term, especially when they are limited-edition or rare art prints. Companies like the Stackhouse printing use the highest-quality materials for colorful art reproductions that can last over 100 years without fading under museum conditions.
Always keep your art and prints away from a direct sunlight, artificial light, high humidity and changing room temperature conditions. Art and prints fade, crack and warp if they're not custom-framed with archival, non-glare plexiglass and backing.
Archival materials used for printing add an extra layer of protection, helping fine prints resist the effects of light and moisture, thereby preserving their beauty and market value. When you shop for a printer, ask what supplies they use because paper must be pH-neutral not to yellow over time.
Moonlight, 22x30in, closeup, colored pencil on art board, Veronica Winters
#3 Using Advanced Printing Techniques
Companies that create high-quality art prints use advanced printing techniques. Some of these methods include:
● Giclée Printing: A technique known for its exceptional quality, giclée printing uses pigment-based inks and high-resolution printers. This method is popular among artists and art collectors due to its ability to render incredibly detailed reproductions that mimic the look and feel of the original piece. ● UV-Protective Coatings: UV coatings shield prints from sunlight, which can fade colors over time. This added layer of protection is necessary for prints displayed in well-lit spaces or under direct lighting. Printing companies like the Stackhouse use these advanced methods for high-end art reproductions.
#4 Having Customization
Customization is a big advantage of working with a high-quality art printing service. Standard printing services often have limited choices in sizes, framing, and finish. A specialized art print shop can print pictures in a requested size. It’s invaluable for art collectors aiming to match a print to their collection’s theme or display needs, as well as for artists wanting to maintain complete control over the presentation of their work for a show.
If you plan to make a large order, ask for a test run of your pictures. I'm sure the shop could print a sample for you to appreciate their quality.
#5 Enhancing the Viewer’s Experience
Usually, we can distinguish between the art print and the original when we look at art in person. The emotional impact is lost in art reproductions. However, today advanced printing techniques are so good that high-quality prints can evoke similar emotions as the original piece. If you go to the Miami Art Context you can look at gigantic photographs that have beautiful detail, color, contrast, and sharpness. Sometimes art galleries display printed digital art that looks impressive because of high-definition in prints. The quality is so perfect that it looks like art, not a print.
Javier Bellomo Coria, Face, Miami Art Fait, 2017
#6 Offering Long-Term Value and Investment Protection
Both limited-edition prints and rare art prints could become a valuable investment when these art prints are signed by a famous artist. Such prints may appreciate in value over time because the artist gains recognition. Therefore, it’s important to know if they were printed with high-quality inks, paper, and UV coating to ensure longevity and peace of mind, knowing that art prints will continue to hold their value and appeal.
Andy Warhol’s silkscreen print seen at the auction in Naples, FL
You must understand the difference between a giclee print and a hand-pulled lithograph or silkscreen. Both types of prints can be signed by a famous artist, but the first one is a computer-generated print, while lithographs, silkscreens and intaglios are hand-made prints pulled through the press. Done in multiples, these prints should have a much higher price point as opposed to a giclee print.
Next time you see a beautiful art print, ask its owner where it got printed. I keep a short list of businesses that offer different art services. For anyone serious about their collection or artistic portfolio, investing in a professional art printing service is a decision that pays off in the quality and satisfaction of each piece produced.
Erin Louise Clancy is a ceramic artist based in Queens, New York, with over 25 years of restaurant experience and a BFA in printmaking. Focusing on collaborative custom work, Erin’s pieces unite these influences with functional design.
Do you find that when you work with someone else that you see an increase in creativity?
Yes, definitely. I feel most creative when there are actual constraints put on me. So when you think about a collaboration I love that there’s this structure. The structure allows you to be creative.
Is there an other side to that? How could collaborations be a restriction on creativity?
Well I think it just depends on how you work. For me because I like the problem solving elements of collaboration that’s exciting to me. To solve a problem, whether it be the best type of bowl for service or survives a dish pit, I mean that’s where it gets interesting. The question is one that is very personal and you have to ask yourself, are you a person that likes those constraints in which you can thrive or are you a person who needs no external parameters.
Is there a higher potential for conflict working in collaboration rather than working by yourself?
Working in the studio with no outside forces, I think to be honest, those are often the moments when I sit down to make my own work or this moment that doesn’t have any goals…I think conflict is kind of strong word, I think there is a kind of tension. A tension between whose needs are happening. But to be honest I sometimes get writer’s block when I am just working for myself. So that conflict feels very present just when I am by myself.
Does having deadlines on your work make you a more focused maker?
Absolutely. I think deadlines for me are way to hold me accountable. Right now on my board I have both sort of client based work and then work for myself. Even for my own collections we need to put deadlines down so we follow through with the project.
How do you mitigate against deadline failures? Like you have to redo something.
Oh yes, so over the years the best thing that I have ever done for myself in a contract or in emails is I never say a hard deadline. I say every single deadline is an estimated delivery window. And before I take on the work or before I take on the client there is a always a conversation about the handmade ceramic process and that things can happen. I don’t give any delivery dates until I unload the kiln.
What about payment? Do you have them pay some before hand or wait until after the process in completed?
Yes, my policy has always been before I begin any production I require a 50 percent non-refundable deposit and I don’t start any work. We will have fleshed out design at this point in a consultation but in order for me to actually start working on the job I do take payment of 50 percent and the remaining balance is only due upon completion.
What is your favorite thing about collaborative work whether with a restaurant or with your friend?
People. People, at the end of the day collaboration is the just getting the opportunity to be curious about each other and about what we need and want and like. At the end of the day ceramics is the way in which we can further those connections with each other.
As a sensitive and intuitive person, working with clay is a perfect fit for John Ellefson. Clay slabs are minutely sensitive to the slightest touch, allowing John to create the subtle forms that he loves. It’s incredibly satisfying for John to breathe life into clay through touch.
Do you see a change of pets going from being a family pet to more of a family member?
That’s an interesting question. My answer to that is definitely yes, but I have never thought about that before. It could be that I live in a city that at one point and time had more pets than children. And so pets by nature of this population have a lot of importance but I think definitely, for sure.
Why is a beautiful urn an important thing for a pet owner to have for their pet?
Well, that’s a good question. I think that my urns serve to honor memory of the pets or people that are inhabiting the inside of that urn. It just feels really important to me that the outside is going to do the inside justice.
Do you ever have conversations before and make a kind of collaboration or do you make the product and then someone buys the product?
Definitely some of both. Some people have specific visions of how they want the urn to be and other people are like, Can you make this in that color? And they are fine. There is a really wide range of people and personality type about how they approach that.
Why do you think there are people who want to keep that connection with their pet in their home like that?
Well I have definitely come across people for whom their attachment to their pet is way stronger than it could have ever been for a person. And I can speculate a to why but I have seen that first hand and so it makes absolute sense that they would want something special.
Is working with a veterinarian or a local cremation place a recommended approach to take?
It has been the key to success for me, doing wholesale work, for sure. I think wholesale work can be difficult because you are not earning the full value of the piece that you are selling. But for me the market is very specialized. I don’t necessarily have access in a way that a pet funeral home would have or that the veterinarians would have.
What do you do to have fun when you are not in the studio?
Well, spending time with my family for sure. I enjoy coaching my daughter’s soccer team and as a family we like to go on family bike rides. And I also like designing tools, (laughter) which is also done for fun.
The moment I sit down at my easel to create art is magical. Time flows into numerous strokes of color to tell a story of hope, loneliness, and my inner need to capture the divine nature of the Universe. We all have the light and dark inside us, but our will or choice to do anything in life is real. Some unknown forces or mysteries don’t guide us. We are here to do what we set out to create ourselves.
KraftGeek art easel review
If you love artistic expression as much as I do and enjoy painting outdoors or in your studio, a stable but portable easel is necessary for every artist.
The advantages:
The easel is adjustable and unfolds up to 65 inches tall. It measures 2.2″D x 3.9″W x 19.87″H and is available in 3 colors: oak, black, and walnut. I like functional things. The art easel weighs under 4 pounds and can fit in carry-on luggage. Made of lightweight aluminum alloy, it can be folded to just 20 inches. The easel is easy to set up, carry around, or store in a closet.
This plein air easel requires no assembly. Just take it out of your box, unfold it, and set it up for a painting session or a gallery presentation.
It can fit on a table. It can also be used as a floor easel because I can adjust its length between 20 and 65 inches.
https://youtu.be/nmCTHH7I3Wc
How to unfold it:
1. Unfold the front legs of the tripod 2. Unfold the back leg 3. To unlock the rod, turn it clockwise, pull & turn counterclockwise 4. To unlock the clamp extension, turn the knob counterclockwise. Turn it clockwise to fasten it.
The most important thing about art easels is their stability. This one doesn’t disappoint. The easel has locks and non-slip silicone pads on each leg to hold art up to 11 lbs.
It can also level your canvas on uneven surfaces, which is useful if you paint outdoors.
The easel can hold a variety of canvases up to 3/4 of an inch wide. It holds canvas sizes up to 10.5” in width, and 24” in height. It’s NOT suitable for small panels like 5×7″, 8×10″, or 9×12″. So you can use it for art gallery displays, outdoor painting, and studio work.
This easel has a pleasantly surprising additional feature. If you need a tripod for your phone, camera, or light, it comes with a mount to hold the phone while recording.
To activate a 2-year limited warranty, scan a code attached to the easel inside the box.
The disadvantages:
1 Some parts are made of plastic and I don’t know how long they would last. 2 It cannot hold big and heavy art but no foldable easel can.
3 It doesn’t hold small canvases horizontally like 5×7, 8×10, 9×12. 4 Also, It’s not cheap. But I’m tired of crappy stands that fall off and can’t even balance small canvases. I figured it’s more valuable to buy one solid easel instead of 2-3 cheap ones that end up in a trash bin anyway.
Enhance your creativity with this steady and functional easel sold by KraftGeek.
To Shop:
If you’re interested in purchasing this beautiful easel on Amazon & supporting my channel, please use the link https://amzn.to/4esAigS . Or buy it at their store online: https://bit.ly/4fdcRJO Use the discount Code: VERONICA to get it at a better price.
Thank you! I hope you enjoy the creative process using this easel!
Yesha Panchal was born in Gujarat, India, and is currently living in Suwanee, GA. Yesha earned her BFA with a concentration in ceramics at Georgia State University in Atlanta, GA. Yesha is currently a ceramics studio manager at the Hudgens Center for Art in Duluth, GA, an organizer of the Clay to Table, serves on the board of NCECA, and is a maker. Yesha’s article “Working Potter” and work were published in “Thoughts on Collaboration” in the June/July/August 2022 issue of Ceramics Monthly
Is there a specific routine one should think of for cleaning a studio?
When it comes down to studio practice in keeping things clean and neat I always try to make sure to have a practice of wet sanding, cleaning things with a wet sponge, not letting dry clay in the studio to kick dust around. Making sure when I move canvases around or any tools around the space I just try to be very mindful of how I am moving things and I try to clean up as much as I can.
Is a vacuum cleaner a good or bad thing?
I don’t vacuum things a lot. We try to make sure that we wet clean as much as we can. We mop almost every day in the studio.
How do you keep everything organized so everything is not mayhem or lost?
Giving things a home is a way to keep things organized, especially in the community studio. I always think if you give a home for a thing, that this thing is always here and you should always put it back where you found it. If you go to a place where it’s messy and it’s everywhere then people will leave it everywhere.
How long does something sit unused before you all toss it?
We have a routine, at the end of every session we mark things down and move things to an orphan shelf. Things will stay on the shelf for one more session and then we move it to the dumpster or recycle it or do something with those materials. And then we do end of the year clean up so that will allow us to make sure that everybody takes their stuff home and we wipe everything down top to bottom.
When the studio is your workplace how do you keep yourself creative?
I make sure that I have a schedule that I follow, and I make sure that I get into the studio. Very few people know where my studio is and those that know really know to respect my time while I am in there. I close the doors because my studio is in the art center where I work so it is really hard to keep that time separate, but I tell them, I am going for my me time and I will be in there and I will be back. And people are pretty respectful of that.
Rita Vali creates joyful pottery that blends modern design with a mid-century vibe, inspired by her love of the intricate details she finds in nature. Rita makes her pottery with others in mind, as she believes people are connected through the use and display of thoughtfully hand-crafted objects. Rita’s career as an artist is made full by teaching various classes where she shares my craft.
How important is it to simply network? To get your name out in various places?
Networking is always good because it brings opportunities not just to get your work out in the world but to do other projects or teaching opportunities. I still think the best way is meeting the people. People that buy art like the connection of knowing about you a little bit.
Does the education process of showing process videos of your work play a key role in your online presence?
I wish I knew the answer, I mean I get the most watches, I mean sometimes it is a ridiculous amount of those. Sometimes I see who those people are and I think they just want to learn which is great because I teach and I am happy to share anything I know. As far as converting them into sales I am not so sure.
How do you take the step to asking people to be a part of your email list?
Well back in the day it was just a notebook sitting there by the cash register. And now it’s, Here’s my card go to my website. And I have run a few gimmicky promos but they don’t feel right to me. Mostly it is just word of mouth, like you said, reverberating out into the community from events.
So you will offer incentives?
I’ve done it a couple of times. We tried a few of those and they never feel really great with me because as a consumer myself on the other side I don’t love gimmicks.
How do you keep your customers engaged?
Probably through my sporadic emails, the events I do, and invitations to events. I do ship so I get a fair bit of business through my website and through Instagram via my website. But the bulk of it is local. I live in a populated area so people can show up to my events and support me.
How important is a speedy response to either questions or order fulfillment?
I think it’s important. I know as a consumer I appreciate it. And I kind of pride myself in trying to communicate with people when they reach out to me whether it is a question about a piece or the safety or a custom order or a teaching questions and whether they should take one of my classes or something like that. As a small business owner I think really good customer service keeps really good pr with people that reach out to you. It sets us apart from the big companies. No chat bots on my website. (laughter)
Francine Hampson and John Ried are the owners of Mudpuppy Studios, a production pottery studio producing functional ware. The studio wares are mainly thrown on the potter’s wheel with alterations and additions done by hand building. The clay is high fire stoneware fired in a 15cu. ft. gas kiln introducing salt/soda at 2350F. The effects are spectacular but unpredictable. The wares are sold locally on Salt Spring Island through the Waterfront Gallery or Artcraft/ Wintercraft shows.
Being on an island do you ever feel cut off from the rest of the world?
Francine: I don’t. I had some really good advice from the first year I lived here. An old, old, woman who had lived here over 40 years, My advice to you is to get off the island at least once a month. Because if you don’t you’ll go cuckoo. So I don’t get cabin fever. We are coming a going and doing different things and getting around.
John: I don’t feel that need to get off the island. In fact I think I have become more of a recluse. I kind of like it on the island. It has everything I need. There’s over 400 musicians on this island and I have two musical groups that I play music with and then I’ve got my studio time. I am also quite involved in the community and a lot of people recognize me around the island, so I really don’t need to go off the island.
How is the access to ceramics supplies?
Francine: Well, we don’t have a ceramics supplier on Salt Spring. We are too small. But Vancouver Island, which is where the city of Victoria is. It’s one of the largest islands in the world and in Victoria is Victoria Clay Arts but then we drive up that island in the other direction there’s Vancouver Island Pottery Supply in Parksville, British Columbia.
John: And we use Amazon. I recently had some Raku gear delivered from Toronto, so that is always a possibility.
Because it is a tight knit community do you ever feel competition among artists?
Francine: I don’t feel that at all because I work in salt-soda and I do high-fire. It’s not very common here. Most people are doing cone 6 or lower, electric firing.
John: I think it’s more a supportive community than a competitive community. I think everybody just networks and if you have an issue you can ask somebody else and everybody is really forthcoming with information. That is the beauty of a small community.
If you’ve traveled a lot across Europe, Zurich in Switzerland might not be the most captivating city to explore in terms of ancient art and architecture. However, this city does have an unusual cityscape and historic charm that may be of interest to you. Its unique character arises from a harmonious blend of urban sophistication and the genuine natural beauty of the clear water of Lake Zurich and the turquoise sparkle of the Limmat River, creating a beautiful landscape that appeals to a discerning eye. Located in Switzerland, Zurich is a global center for banks and finance, so it’s both a pricey and wealthy city to explore.
Unfortunately, I lost most of my video and photo files traveling back from Europe, but I still have a few to show you the highlights of the city.
National Museum Zurich, silver model of a castle
Key dates:
Date/Period
Event/Figure
Significance
853 AD
Founding of Fraumünster by Louis the German
Established an influential religious institution for aristocratic women.
c. 1100-1220
Construction of Grossmünster
Iconic Romanesque church and later center of the Reformation.
1336
Rudolf Brun becomes first mayor of Zurich
Marked a shift in power towards guilds.
1519
Huldrych Zwingli becomes pastor of Grossmünster
Beginning of the Swiss-German Reformation in Zurich.
1787
Founding of the Zürcher Kunstgesellschaft
Led to the establishment of the Kunsthaus Zürich.
1891
Opening of Zurich Opera House
Established a major cultural institution for opera and ballet.
1898
Opening of the National Museum Zurich
Established a key institution for preserving and showcasing Swiss history and culture.
1916
Founding of Cabaret Voltaire
Birthplace of the Dada art movement.
1970
Installation of Chagall windows in Fraumünster
Significant addition of modern art to a historic church.
2016
Opening of FIFA World Football Museum
Establishment of a major museum dedicated to football history and culture.
2021
Opening of Kunsthaus Zürich extension by David Chipperfield
Significant expansion of Switzerland’s largest art museum.
The Limmat river in the old town
Major Sightseeing Attractions: Altstadt (Old Town)
The Grossmünster: the reformed church
The Grossmünster is the main attraction in Zurich, standing tall above other buildings on the bank of the river. Its architecture is predominantly Romanesque, evident in this church’s thick walls, the semi-circular arches of arcades, sturdy structural pillars, and huge twin towers. These towers, piercing the skyline, have become the city’s most prominent landmark. If you climb the towers, you’ll see panoramic views of the city and the distant Alps. Do it close to sunset to capture the evening colors. As a tourist, check the working hours of the church too because of its scheduled renovations between 2025 and 2029.
Construction of the present structure commenced around 1100, with its inauguration taking place in approximately 1220. The Grossmünster origins can be traced back to a Carolingian church, possibly commissioned by Charlemagne around 810 CE. The edifice was erected on the site of an earlier Carolingian church. Within the church and its cloister, Romanesque capitals, often featuring grotesque carvings, offer glimpses into medieval art styles of the region. Later, the church underwent further architectural evolution, with the addition of neo-Gothic tops to its towers, completed in 1787. This followed a fire in 1763 that had destroyed the original wooden steeples. The church’s construction utilized a local material, Bollinger Sandstein.
The foundation for the two towers seen today was built in the 18th century by Johann Vögeli and Johannes Haggenmiller. One of the twin towers, the Karlsturm, features a viewing platform accessible by climbing 187 steps, rewarding visitors with sweeping panoramic views of the Old Town and Lake Zurich.
Beneath the church lies the Romanesque crypt, dating back to the 11th and 13th centuries, the largest of its kind in Switzerland. This crypt houses a 15th-century statue of Charlemagne. Legend recounts that Charlemagne himself discovered the graves of Felix and Regula, Zurich’s patron saints, here. The church became the place where Huldrych Zwingli initiated the Swiss-German Reformation in 1520. His successor, Heinrich Bullinger, continued these pivotal reforms. Throughout the Middle Ages, the Grossmünster functioned as a monastery church, constantly vying for prominence with the Fraumünster across the Limmat River. The theological school, once attached to the abbey, eventually formed the nucleus of Zurich University.
Chagall, stained glass windows
Culturally, the Grossmünster is a symbol of Reformed Zurich. The Reformation, which began here, profoundly impacted art and architecture in Protestant churches across Switzerland, leading to the removal of religious decorations and a focus on the simplicity of plain walls. Therefore, the Grossmünster looks reserved in its artistic decorum, and this art style is not my favorite as I gravitate towards baroque and classical art. Its art elements include abstract stained-glass windows designed by Augusto Giacometti, added in 1932, a precursor to abstract art. In 2009, the church added modern stained glass created by the renowned German artist, Sigmar Polke, featuring vivid agate designs and depictions of the Old Testament figures. The ornate bronze doors, created by Otto Münch in 1935 and 1950, depict scenes from Swiss history and the Reformation. There is a beautiful organ inside the church, decorated with little golden angel figures.
The Fraumünster Church
Fraumunster church interior in Zurich
On the opposite bank of the Limmat River stands the Fraumünster Church, another historic landmark of Zurich with its distinct turquoise spire. While its current architectural style is predominantly Gothic, the church was originally built in the Romanesque style starting from the mid-9th century. The history of the Fraumünster dates back to 853 AD when it was founded by King Louis the German for his daughter Hildegard, who became the first abbess. It served as a Benedictine convent for aristocratic women from across Europe, enjoying royal patronage, including the right to mint coins.
The Romanesque choir dates back to 1250. The church’s slender blue-green copper spire was added fairly late, in 1732. Beneath the choir lies a cool crypt dating back to the 9th century that reveals archaeological remnants, including ancient Roman walls, and displays the history of the Reformation. During the Reformation, the abbey was dissolved in 1524, marking a significant shift in its role and ownership, with control passing to the city of Zurich. The Fraumünster houses the largest organ in the Canton of Zurich, featuring 5793 pipes, and the church also hosts various concerts and events throughout the year, taking advantage of the excellent acoustics provided by its grand organ.
In the north transept, a significant stained glass window titled “The Heavenly Paradise” was created by Augusto Giacometti in 1945. Giacometti’s artistic approach was influenced by Art Nouveau and Symbolism, and he is considered a pioneer of abstract art. The church also features a cycle of frescoes by Paul Bodmer in the Romanesque choir and cloister, illustrating the legend of the monastery’s founding and the stories of Zurich’s patron saints, Felix and Regula.
The Fraumünster is famous for its stained glass windows of biblical scenes created by Chagall. Five large windows in the choir were designed by famous artist Marc Chagall and installed in 1970. Although I’m not a fan of modernity including this artist, Chagall usually painted in oils but it’s fun to see how his art style translated into the stained glass projects he pursued later in his career. The same cubist forms and religious themes floated from canvas to glass.
The Lindenhof
The Lindenhof offers a serene escape and panoramic views of the city you cannot miss, my friend. If you want to escape the busy streets of the old town and tip your toes into nature, this long road along the riverbank brings picture-perfect views of the Old Town, the Limmat River, Lake Zurich, and the Alps for your camera. I enjoyed walking along the shore looking at trees, architecture and people. The Lindenhof’s significance dates back to Roman times when it served as a strategic fortification around 15 BC. Subtle remnants of a Roman fortress can still be seen, including sections of the walls and a 2nd-century gravestone, a copy of which is embedded in the Lindenhof wall. In the 9th century, it was the site of a Carolingian royal palace. The hill is also associated with the legendary women’s march in 1292, where Zurich women, disguised as soldiers, are said to have defended the city.
A popular spot for both locals and tourists today, the Lindenhof has served as an inspiration for artists, with its scenic views frequently captured in paintings. You can walk under a shade of mature linden trees to stop by the Hedwig fountain of 1688 that commemorates the legendary siege of Zurich. It’s a peaceful park for many people to relax and enjoy summer.
Niederdorf & Giacometti Murals
Don’t skip the murals! Tucked away on the right bank of the Limmat River, Niederdorf has formed a charming and historically rich part of Zurich’s Old Town since the medieval times. Known affectionately by locals as “Dörfli,” it exudes a medieval charm with its oriel windows, narrow cobblestone alleyways, and picturesque courtyards. This pedestrian quarter is full of historical and cultural landmarks, with well-preserved buildings that narrate Zurich’s heritage. As a medieval trade city, Niederdorf developed organically, with buildings constructed adjacently.
Niederdorf holds a significant place in art history as the birthplace of the Dada movement, which was founded at the Cabaret Voltaire in 1916. Today, Niederdorf continues to foster artistic expression with its numerous art galleries and unique shops, contributing to its bohemian and creative atmosphere. Half-geometric, half-organic red and ochre splashes of color, the Giacometti Murals at the Uraniastrasse Police Stationare also located in Niederdorf, showcasing the work of the renowned Swiss artist. He won the competition to brighten up the space, and the murals are beautiful and worth your visit.
Niederdorf is a popular promenade for both locals and tourists. It is known for its lively nightlife, with numerous restaurants, cafes, and bars. As a pedestrian zone, it offers a unique charm, blending shopping, dining, and cultural experiences. Niederdorf also hosts various festivals and events, contributing to Zurich’s dynamic cultural scene.
Cabaret Voltaire: the birthplace of the Dada art movement
Cabaret Voltaire, located in Zurich’s Niederdorf quarter at Spiegelgasse 1, holds immense historical significance as the birthplace of the Dada art movement. The building itself dates back to the 14th century. Today, it functions as a museum, bar, and cultural space, open to the public. It features a historical hall and a vaulted cellar that host exhibitions, as well as the Dada Library on the second floor.
The Cabaret Voltaire was founded on February 5, 1916, by Hugo Ball and Emmy Hennings, serving as a meeting place for artists and writers during World War I. It became the epicenter of the Dada movement, which challenged established artistic norms through nonsensical and irrational expressions. The cabaret closed in the summer of 1916 but experienced a revival in the 21st century. Following a period of disrepair and a brief squat by neo-Dada artists, it reopened in 2004.
St. Peter Church
St. Peter Church, located in the heart of Zurich’s Old Town next to Lindenhof hill, holds the distinction of being the city’s oldest parish church, with origins possibly dating back to the 8th century. It is also the only Baroque church in Zurich. A prominent feature is its clock tower, which boasts the largest church clock face in Europe, with a diameter of 8.7 meters. The tower was used as a fire lookout point until 1911. Five bells, dating back to 1880, reside in the tower. The church’s nave was rebuilt in the Gothic style in 1460, and the current building was consecrated in 1706.
Artistically, this church has an unusual combination of art styles. St. Peter Church features five stained glass windows created by Augusto Giacometti in 1930. The choir contains frescoes dating back to the Middle Ages. The church also houses an organ with 53 stops, crystal chandeliers, white stucco walls and ceilings, and red stone columns.
Historically, the site of St. Peter’s Church was once a Roman temple dedicated to Jupiter. The church belonged to Holy Roman Emperor Henry III in its early years. Rudolf Brun, Zurich’s first mayor, was buried here in 1360. Leo Jud, the first reformed pastor, also served at St. Peter, as did Johann Caspar Lavater from 1778 to 1801. St. Peter church overlooks the river and you can’t pass it by without seeing its clock face and spear.
The Lindt Chocolate Factory
This is an incredibly crowded and fun place to visit if you are in Zurich. You either use a public bus or Uber to get to the Lindt chocolate factory and museum. All sold tickets are timed to get into the factory’s tour, but there’s plenty to do inside the building waiting for your entry time. My recommendation is to buy their tickets online because the get sold out quickly.
THE CODEX ZOUCHE-NUTTALL is one of eight surviving pictographic codices of the Mixtecs, an advanced Mesoamerican culture. The codices provide a glimpse into the life of the upper classes of society and mention cocoa frequently – here, for example, a bride hands her bridegroom a cup filled with the chocolate drink. Codex Zouche-Nuttall, Mexico, 14th century, facsimile, copyright The Trustees of the British Museum
My personal opinion, the tour itself isn’t great. It was crowded and exhibits themselves were too few and in between. You basically walk through several rooms where they tell you about the history of chocolate making. They give you many chocolate samples and you can taste the chocolate right from the chocolate fountains of white, dark and milk chocolates.
"Filled chocolates are still extremely rare. They were expensive at the end of the 19th century. Therefore, only small packages with a maximum of four pieces were available. The high-quality chocolates were sold in carefully designed boxes that could be re-used as jewelry boxes after the chocolates were eaten." Bonbonnière, Switzerland, 19th century. Lender: Lindt & Sprüngli AG, Kilchberg
I think the most exciting part is their gift shop, which is separate from their tour, of course. This is where you can experience death by chocolate, depending on the size of your pocketbook. But in all seriousness, they made it super fun with shopping carts filled with candy displays. You can really feel like a kid walking among the colorful stands with shiny wrappers of the Lindt chocolates in luxury boxes, open-stock, etc.
Bahnhofstrasse
Bahnhofstrasse, Zurich’s renowned shopping boulevard, is an elegant avenue lined with high-end boutiques, prestigious Swiss banks, restaurants, and luxury jewelers. It has earned its reputation as one of the world’s most exclusive and expensive shopping destinations. It serves as a central shopping boulevard, connecting the main train station with the lake and offering a vibrant pedestrian experience. This iconic street came into existence in the mid-19th century, specifically between 1864 and 1877, following the demolition of Zurich’s city fortifications and the subsequent filling of the former moat known as Fröschengraben. Initially, it served as an access road to the city’s railway station. Over time, Bahnhofstrasse evolved into a prestigious address, attracting wealthy residents and establishing itself as a prominent center for banking and finance, with headquarters of major Swiss banks like UBS located along the street. The architecture along Bahnhofstrasse showcases a mix of styles, with many buildings dating back to the 19th century alongside more contemporary structures, including department stores and office buildings. The boulevard stretches from Zurich’s main train station to Bürkliplatz on the shores of Lake Zurich.
While primarily known for its commercial activity, Bahnhofstrasse incorporates public art into its urban landscape. Such an example is an outcry of modernity, Max Bill’s “Pavillon-Skulptur,” a walk-in granite sculpture created in 1983, stands near Paradeplatz. The street is also home to several art galleries, including Opera Gallery Zürich and Hauser & Wirth Zurich, which showcase contemporary and modern art. Historically, the street housed Moderne Galerie, one of Switzerland’s earliest galleries specializing in modern art in the early 20th century. Throughout the year, the street features public art installations, and during the Christmas season, it is illuminated by the enchanting “Lucy” light show.
Lake Zurich
The architecture along the lake Zurich shores presents a blend of contemporary residential designs and modernist structures like the Pavillon Le Corbusier (a modern art museum). The Pavillon Le Corbusier, completed in 1967, was constructed entirely of glass and steel. Other architectural highlights include the distinct horseshoe-shaped headquarters of Swarovski and Flexhouse, a residence with an undulating design of glass and aluminum shingles.
This lake is a major attraction for people who love nature, boats, swimming, walking, cycling, and serene views. Historically, Lake Zurich’s basin and shoreline were formed by glacial activity during the Ice Age. The lake’s shores were also the site of prehistoric pile dwellings. Today, the lake is a very popular spot among the locals to eat, sunbathe, and relax next to the beautiful blue water.
The National Museum Zurich
The National Museum Zurich resembles a fairytale castle with its pointed gables and turrets. Designed by Gustav Gull, it opened in 1898, showcasing a historicist style inspired by French Renaissance city chateaus. The building features numerous towers, courtyards, and a picturesque park. In 2016, a modern, sculptural extension was designed and added by Christ & Gantenbein. The new wing’s expressive roofline complements the original building’s character.
In my opinion, it’s not the most interesting museum I’ve visited in Europe, but it’s still worthwhile your visit because the National Museum houses the largest collection of cultural and historical artifacts in Switzerland, encompassing over 870,000 objects that span from prehistory to the present day.
Its collection is organized into 14 diverse groups, including archaeology, weaponry, textiles, fine art, and objects representing everyday life throughout Swiss history.
The museum features a rich display of Gothic art, chivalric artifacts, liturgical wooden sculptures, panel paintings, and an extensive collection of stained glass, considered the largest and most significant in the world. Visitors can also explore a dedicated Collection Gallery showcasing Swiss furnishings from different periods.
Stoves: I found the rooms made of wood from 1566 to be unique and very interesting artistically. These rooms are made of rich wood carvings, inlays, and elegant designs. Elaborate, colorful tiled stoves decorate these rooms.
As per the museum’s description, “Wood-burning, titled stoves were not only a source of heat, but also prestigious objects that embellished the living rooms of wealthy households. The monochromatic relief tiles of the 14th and 15th centuries gradually gave way to colorful tableaux in the 16th and 18th centuries. Whites dominated the designs created after 1800.
Pins: There is a beautiful display of female jewelry inside the museum. For example, you can find a big hair piece, a Rose hairpin used by unmarried women to secure braids in place. Made by Franz Leonz Beul (1780-1856), The rose pin is a filigree on silver with sparkling rhinestones.Landsknecht Sword: The precious damascened sword blade was made between the 7th and 8th century using a complicated forging process. In around 1510, the sword acquired a hilt, which extended it considerably. These swords, often two-handed, are representative of the era and the types of weaponry used by the Landsknecht mercenary soldiers during the 16th century.Exotic fruit: The coconut epitomized the exotic fruits for the Europeans. People believed that coconut had healing powers and could be used to detect poison in food and drink. Coconut goblet. 1590-1600, prob. Northeastern Switzerland. Money box: the discovery of new continents promised reaches for the Europeans. Seafarers returned with treasures of silver, gold from South America and spices from Asia. The chest, 1600-1700. Iron.Bossard Goldsmiths: Their craftsmanship of golden goblets and jewelry is a definite highlight of the National Museum of Zurich. According to the museum’s description, “Based in Lucerne, Atelier Bossard was one of the most renowned goldsmiths’ workshops in Switzerland in the 19th century. The company’s founder, Johann Karl Bossard (1846-1914), produced magnificent ornamental objects, silverware, and jewelry. By returning to historical styles, from Gothic to Renaissance to Baroque, the Bossard studio had a significant influence on the style of historicism. Until his death, Johann Karl Bossard also devoted himself to the antiques trade and the decoration of entire interiors. Artistic craftsmanship was valued again in the 19th century as a reaction to industrially manufactured mass products. In the booming tourist center of Lucerne, a visit to Bossard was a must at the time.The Arab astrolabe: As I’m fascinated with the astronomical instruments, I take pictures of them wherever I go. I found this astrolabe in the museum. It was used for telling time and as a navigational instrument. The original device was developed further by the Arab scientists. For a long time it was an important instrument for observing the stars. Astrolabe. Johann Anton Lynden. 1604, Heilbronn (DE), engraved and gilded metal, wood frame.
Kunsthaus Zürich
The Kunsthaus Zürich was established in 1787 by the Zürcher Kunstgesellschaft, a group of artists and art enthusiasts. The society began collecting art in 1794. The museum moved to its current location in 1910 and has expanded over the years to accommodate its growing collection.
Kunsthaus Zürich, the largest art museum in Switzerland, offers an expansive journey through art history. The original museum building, designed by Karl Moser and Robert Curjel opened in 1910. It features well-preserved Moser interiors in the Neo-Grec Secession style. Over the years, the museum has undergone several expansions, culminating in a significant addition designed by David Chipperfield Architects Berlin, which opened in 2021. Chipperfield’s extension is a modern-era rectangular structure clad in sandstone, emphasizing urban space and creating new public areas. An underground passage connects the new building with the original Moser building.
Von Karl Stauffer-Bern – Kunsthaus Zürich, Gemeinfrei, https://commons.wikimedia.org/w/index.php?curid=157445323
The Kunsthauscollection: houses one of Switzerland’s most important art collections, encompassing around 4,000 paintings and sculptures, as well as 95,000 prints and drawings, spanning from the Middle Ages to contemporary works.
The museum houses 17th-century Dutch art by Rembrandt, Rubens, and van Ruisdael. The Italian Baroque is represented by the paintings of Claude Lorrain and Domenichino. There are some Venetian paintings (Tiepolo to Guardi). One of the most beautiful classical paintings in the museum’s collection is Cupid & Psyche by Angelica Kauffmann, 1792. The 19th-century art of Fuselli depicts the same subject. Jacob van Ruisdael’s The Bleachers of Haarlem, 1670s, is a beautiful landscape.
It boasts the most significant museum collection of works by Alberto Giacometti and the largest assembly of paintings by Edvard Munch outside of Norway. The collection also features examples of Impressionism and Modernism by artists such as Monet, Van Gogh, Picasso, and Chagall. The art museum holds the world’s largest collection of objects from the Dada movement, which was founded in Zurich in 1916. The museum also showcases Pop Art by Warhol and Lichtenstein, as well as contemporary art by artists like Fischli/Weiss, Pipilotti Rist, Cy Twombly, Joseph Beuys, and Georg Baselitz. Significant private collections, including the Emil Bührle Collection, which focuses on French Impressionism and Post-Impressionism, and the Gabriele and Werner Merzbacher Collection, featuring Fauvist and Expressionist works, are also housed here. Art extends beyond the museum walls with public installations in front of the museum, such as Rodin’s “Gates of Hell” and Pipilotti Rist’s “Tastende Lichter” located nearby.
Uetliberg
Uetliberg, often referred to as Zurich’s “very own mountain,” offers a natural contrast to the city’s urban attractions. Rising to 2,858 feet above the sea level, it provides panoramic views of Zurich, Lake Zurich, and the distant Alps. Architectural elements on Uetliberg include a rebuilt lookout tower, offering enhanced perspectives, and the Uetliberg TV tower, standing at 186 meters. The Hotel Uto Kulm, located at the summit, provides accommodation and dining options with stunning views. The Uetliberg railway station makes the mountain easily accessible from the city.
Historically, Uetliberg was the site of an important Iron Age fortification (Oppidum Uetliberg) dating back to around 500 BC. Evidence suggests a Roman presence as well. A medieval castle, Uotelenburg, once stood near the summit. The Uetliberg railway was built in 1874, opening the area for easier access.
Uetliberg is a popular recreational area for Zurich residents and visitors, offering opportunities for hiking, mountain biking, paragliding, and sledding. It is particularly popular in November as its summit often rises above the city’s fog. The “Planet Trail” walk offers an educational and scenic experience.
The Zurich Opera House
The Zurich Opera House, situated at Sechseläutenplatz, is a cultural gem renowned for its performances. Designed by Viennese architects Fellner & Helmer, it opened in 1891. Created in a neo-Baroque style, the Zurich Opera House reminds me of a white wedding cake. The ornate facade, crafted from white and grey stone, features classical busts of prominent composers like Weber, Wagner, and Mozart. The auditorium, built in the neo-rococo style, can seat approximately 1100-1200 patrons. An extension was added on Uto-Quai in 1984, and a temporary bridging structure was completed in 2024.
As a leading institution for performing arts, the Opera House is home to the Zurich Opera, Ballett Zürich, and Philharmonia Zürich. It delights audiences with masterpieces from the worlds of opera, ballet, and classical music. The Opera House commissions posters for its performances, some of which are designed by notable artists like K. Domenic Geissbühler.
Culturally, the Zurich Opera House is a gem and a symbol of the city’s rich artistic heritage. It is considered one of the most productive and successful opera houses in Europe, hosting numerous opera performances, ballet productions, concerts, and events for children annually. The Opera House has received international recognition, including being named “Opera Company of the Year” at the International Opera Awards.
The Rietberg Museum of non-European art
The Rietberg Museum was founded in 1952 to showcase the renowned collection of non-European art assembled by Baron Eduard von der Heydt. Villa Wesendonck, now the museum’s main building, was once a cultural hub frequented by the composer Richard Wagner. The estate was previously owned by the Rieter family. The museum expanded with the opening of Villa Schönberg in 1978 and the “Smaragd” extension in 2007.
The Rietberg museum’s Asian art
The Rietberg Museum, nestled in the beautiful Rieterpark, comprises three 19th-century villas—Villa Wesendonck, Villa Schönberg, and Rieter Park-Villa—along with a coach house. A modern underground extension, known as “Smaragd,” featuring a glass pavilion, was added in 2007, designed by Alfred Grazioli and Adolf Krischanitz. Villa Wesendonck, the main building, was constructed in the neo-classical style in 1857, while Villa Schönberg exhibits an English country house style with Gothic elements.
The Rietberg Museum’s art collection encompasses around 32,600 objects and 49,000 photographs representing the arts and cultures of Asia, Africa, the Americas, Near and Middle East, and Oceania. The collection includes both traditional and contemporary works with some Chinese porcelain, Indian miniature paintings from the Alice Boner Collection, and Himalayan Buddhist art from the Berti Aschmann collection. The museum also houses the significant Himmelheber Archive, focusing on African art.
The Near & Middle East art starts with 232 Luristan bronzes dated to 3000–1000 BC. Islamic ceramics, ancient Persian manuscript illumination, lacquer painting, and Egyptian textile collection. Japanese art is presented with woodblock prints, carved figures, and much more. The golden figure sculptures from the Himalayan region are exceptional. The examples are from Tibet, 15th c., Fire-gilt copper alloy with inlaid semi-precious stones. You can see the finest examples of this collection here.
Situated within a beautiful park, the museum offers a tranquil environment for appreciating global art and culture.
The FIFA World Football Museum
For all football fans out there, the FIFA World Football Museum in Zurich offers a modern perspective on the art and culture surrounding the world’s most popular sport. The museum occupies a renovated building in the Zürich Enge district, near the train station. The original building, “Haus zur Enge,” was an architectural icon of the 1970s, designed by Werner Stücheli. The renovation, undertaken by SAM Architekten + Partner, maintained the building’s basic form while adding necessary modern elements and an upward extension. The resulting structure features a horizontally layered design.
The FIFA Museum provides an interactive experience for visitors of all ages, showcasing over 1,000 exclusive exhibits and memorabilia from FIFA World Cups. A highlight of the collection is the original FIFA World Cup Trophy. The museum also displays national soccer shirts from all FIFA member associations. Interactive and multimedia installations, including a giant football pinball machine, offer engaging experiences. The museum hosts special exhibitions, such as “Football: Designing the Beautiful Game” and “211 Cultures. One Game,” exploring the broader cultural context of football.
Old Town with the St.Peter’s Church
As you can see Zurich’s attractions will depend on your interests. If you’re short on time, visit the Old Town first and then consider other places like the lake, one of the museums, or a chocolate factory to be your destination. Zurich has excellent public transportation, and Uber may be pricey, depending on the time of the day.
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