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  • Get ‘H.A.P.P.Y’ with Liz West’s Immersive Installation Made of More Than 700 Colorful Discs — Colossal

    Get ‘H.A.P.P.Y’ with Liz West’s Immersive Installation Made of More Than 700 Colorful Discs — Colossal


    Spanning nearly the entire floor of the main space of Mercer Art Gallery in Harrogate, Liz West’s expansive new installation invites viewers to revel in color and brightness. The artist has reimagined the historic early-19th-century spa promenade room as a vibrant, sensory immersion.

    West’s solo exhibition, H.A.P.P.Y, takes inspiration from a common malady known as seasonal affective disorder, or S.A.D., which is a form of depression that often manifests in the fall or winter when the days are shorter and the temperatures drop. It typically recedes in the summer and spring.

    two people stand inside of a white gallery space, alongside a floor installation of numerous shiny, colorful circles

    Continuing her interest in the effects of light, reflections, and chromatic relationships (previously), the artist created “Our Colour Reflection,” the centerpiece of H.A.P.P.Y, to highlight the emotional, psychological, and physical power of vibrancy and hue.

    Composed of 765 multi-colored discs layered in low relief across the floor, the piece transforms the environment into a luminous experience that interacts with natural and artificial light and evolves throughout the day.

    H.A.P.P.Y also includes a selection of paintings, drawings, and models for “Our Colour Reflection,” and the exhibition continues through October 5. See more on the artist’s website and Instagram.

    a floor installation of numerous shiny, colorful circles reflecting onto a wall
    a floor installation in a white-walled gallery space of numerous shiny, colorful circles
    a floor installation of numerous shiny, colorful circles





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  • Pottery For Your Lifestyle | Jenny Cartee

    Pottery For Your Lifestyle | Jenny Cartee


    Jenny Cartee | Episode 1126

    Jenny Cartee is a potter living in the mountains of western North Carolina. Jenny makes mugs and other functional pots that she sells at our local farmers market and coffee shops. Jenny’s husband, Heath is a fly fishing guide and owns a guide service, Pisgah Outdoors. Jenny and Heath have two daughters, Annie and Molly. As a family they love the freedom that having their own businesses gives them to spend time with each other and their girls. Aside from pottery Jenny’s life passions are cooking, baking bread, hiking ,and identifying wildflowers.

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    In order for pottery to be your lifestyle you need to know your life.

    Yes, you have to know what’s important to you and what’s your priority. I love making but I also really love being free enough to drop what I am doing and go do something with the kids or go do something with my husband. He has his own business as well, like I said he is a fly fishing guy and so he runs a guide service so he works a lot of weekends and then randomly have a Friday off. So it’s nice that I have the freedom to be able to drop everything and spend time with him. 

    Know your limits.

    Yes, I have definitely tested those throughout the years. The Christmas show is definitely very taxing every year. My girls were born during those years and I would take them to the show and carry them as infants at the show. It got us through those years but it’s nice now to know what I can produce comfortably and not be too taxing on my body.

    Know your profit margins

    Yeah, that’s an important piece to it, to know how much you are spending and all your expenses. A lot of that for me is by feel. When you are pricing stuff for the market and you start to put the price sticker on and it doesn’t feel quite right anymore then maybe I need to inch it up to where I feel good about it.

    Know your sales outlets

    Yeah, I think a lot of that is knowing the people that are coming to you. Coming to either the farmers market or to the coffee shop and the kinds of things they are into. Since we are in the mountains I do a mountain bike mug. I do a hiker mug. I do things that are sort of touristy but more a reflection of the area. 

    Know your failures and how to come back. What did you fail in and how did you come back?

    That’s a tough one because failures are all the time. You have markets that don’t work out. Or you have a whole batch of mugs that messed up for one reason or another. Or something new you are trying that doesn’t work out. It’s a constant if you are trying something new it’s not going to be perfect. It’s not going to be consistently working. If you are experimenting and taking a risk then you are going to have mess ups and failures along the way. But you just get up and try again.

    Book

    Rosie Revere Engineer by Andrea Betty 

    Contact

    jennycarteepottery.com

    Instagram: @jennycarteepottery





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  • Curator at Large: Spring 2025

    Curator at Large: Spring 2025


    Spring has arrived, and with it comes a fresh wave of exhibitions sweeping through London’s galleries. This season, shows delve into everything from nature’s hidden structures to the dynamic tension between opposing ideas that shape how we live, think, and feel. Whether you’re craving quiet reflection or bold confrontation, we’ve selected these exhibits for their promise to spark curiosity and conversation.

    By Sophie Heatley | 24 Apr 2025

    Jure Kastelic: Cathedral and Bazaar

    Curator At Large: Spring 2025
    © Jure Kastelic | Courtesy of Carl Kostyál, London | Stockholm | Hong Kong

    In October 2024 Jure Kastelic had his debut solo exhibition ‘Musical Chairs’ with Carl Kostyál in Milan. Now, back for his second instalment in London, Kastelic continues to explore the push and pull of opposing forces—ideas that shape how we live, what we desire, and how we assign value to things. At its core, his practice asks: what holds value in a world where everything feels increasingly diluted? Drawing from both analogue and digital influences—including online forums, classical painting, and economic theory—Kastelic crafts surreal, dreamlike scenes that reflect the tensions of life in late capitalist society.

    Carl Kostyál, London | 1 May – 8 Jun 2025 

     

    Giuseppe Penone: Thoughts in the Roots

    Curator At Large: Spring 2025
    Giuseppe Penone, Alberi libro (Book Trees), 2017 and Respirare l’ombra (To Breathe the Shadow), 2000 | Installation View, Serpentine South. © George Darrell. Courtesy of Giuseppe Penone and Serpentine.

    A key figure in the Arte Povera movement, Giuseppe Penone has spent over five decades exploring the profound connection between humans and nature. Thoughts in the Roots brings together works from 1969 to the present, highlighting his poetic use of natural materials such as wood, bronze and marble. Set both within the gallery and in the surrounding park, the exhibition reveals the hidden structures and rhythms of the natural world through Penone’s quietly powerful sculptures and installations.

    Serpentine South Gallery, London | 3 Apr – 7 Sep 2025

     

    Eileen Perrier: A Thousand Small Stories

    Curator At Large: Spring 2025
    From the series Afro Hair and Beauty Show, 1998-2003 | Courtesy of Eileen Perrier and Autograph 

    For over 30 years, Eileen Perrier has used portrait photography to connect people and celebrate the power of being seen. Drawing on her dual Ghanaian and Dominican heritage, she blends 19th-century European and contemporary African studio styles to explore identity, belonging and representation. Often working in makeshift studios and community spaces, Perrier’s portraits centre shared experiences—from family ties to beauty salons—highlighting individuality while bridging cultural and social divides. This first retrospective brings together key series from her career, featuring three generations of her own British Ghanaian family, and her recent work on the pressures faced by teenage girls.

    Autograph, London | 17 Apr – 13 Sep 2025

     

    Exhibitions Closing Soon

    Rose Wylie: When Found becomes Given

    Curator At Large: Spring 2025
    Installation View, Rose Wylie: When Found becomes Given, David Zwirner, London, 2025

    Featuring recent single- and multipanel works from Rose Wylie, When Found becomes Given, the show blends personal, historical and imagined narratives across time and space. Wylie’s bold, seemingly playful style belies a deep and witty exploration of how images are composed and perceived. Her layered approach often involves reworking motifs and mixing unexpected elements to create visual echoes that challenge traditional perspective and storytelling. 

    David Zwirmer: London | April 3 – 23 May 2025

     

    Amoako Boafo: I Do Not Come to You by Chance

    Curator At Large: Spring 2025
    Installation View | Courtesy of Amoako Boafo. © Prudence Cumings Associates Ltd. 

    Ghanaian artist Amoako Boafo’s first UK solo exhibition features new, finger-painted portraits that celebrate Black identity with authenticity and joy, while challenging stereotypes through powerful, intimate works. The exhibition also includes an immersive recreation of Boafo’s childhood courtyard in Ghana, designed with architect Glenn DeRoche, reflecting themes of community and memory. Key works like Self-Portrait with Cacti (2024) invite reflection on space, identity, and shared creativity.

    Gagosian Grosvenor Hill, London | 10 Apr – 24 May 2025

     

    The Shape of Colour

    Curator At Large: Spring 2025
    Paul Feeley, Untitled, 1962 | Courtesy of The Artist and Waddington Custot

    Building on Waddington Custot’s 2019 exhibition Colour Is, The Shape of Colour continues to explore the transformative power of colour in shaping how we perceive art and space. Spanning works from the 1950s to today, the exhibition examines how artists use colour and form to blur the lines between painting and sculpture. Featuring pieces by Josef Albers, Vanessa Jackson, David Annesley, Sheila Hicks, and others, the show reveals how colour can create spatial illusions, challenge perception, and turn flat surfaces into vibrant, multidimensional experiences.

    Waddington Custot, London | 22 April – 29 May 2025

     



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  • How to paint realistic details by studying famous art & artists through art history – Veronica Winters Painting

    How to paint realistic details by studying famous art & artists through art history – Veronica Winters Painting


    How to paint realistic details by studying famous art & artists through art history


    When I travel and visit art museums, I study the art. I often take pictures of close-ups and details in the oil paintings to see how famous artists conveyed realism through texture and detail in their masterpieces. Some top art museums have digital art collections available to view and even download online these days, but many don’t.

    I find it enjoyable to take pictures of jewelry, fabric, bows, gowns, metal, gold, silver and other details I see in art. I learned a lot by studying such detailed paintings and if you’re interested in the realist oil painting techniques, I suggest making painted copies of your favorite paintings. I hope this blog post can inspire you to do just that. Enjoy!

    All photos are taken by me- Veronica Winters unless noted otherwise. Also, many famous paintings are in the public domain and can be downloaded for free from art museums websites like the Met, the National Gallery of Art, etc.

    Agnolo Bronzino-Eleonora of Toledo with Her Son Giovanni-painting details-blog
    Agnolo Bronzino, Eleonora of Toledo with Her Son Giovanni, painting details of pearls and fabric. | photo: V. Winters. From 1539 to 1572, Bronzino served as the court painter to Cosimo I, Duke of Florence. The Florentine artist, Bronzino, painted in the Mannerist art style – emotionless figures and hyperrealist painting details of jewelry and fabric gowns.
    Bronzino
    Titian, a close-up of hands, fur, and jewelry rings | photo: V. Winters
    Holbein-the ambassadors closeup
    Holbein, The ambassadors, a closeup of fur. National Art Gallery in London. Notice how soft the fur looks in comparison to the carefully painted golden details in fabric.
    A close-up of a painting showing white lace, Metz, France. Photo: Veronica Winters
    Art closeup at the CA’ d’Oro palace in Venice, Italy
    Sargent, Mrs. Joshua Montgomery Sears, a close-up of a white gown, Houston Art Museum
    lady reading letters of Heloise and Abelard-1780-A. dAgesci
    Auguste Bernard d’Agesci, A lady reading letters of Heloise and Abelard, 1780, oil painting, Art Institute of Chicago
    Titian, Portrait of a Lady, a golden earring and pearl detail, the Pitti Palace, Italy
    Some ribbon and fabric details at the Smithsonian National Art Gallery
    Turin, Italy. Here, the meticulously created details of fabric are layered over the initial painting of a fancy yellow jacket.
    oil painting closeup-the Soumaya Art museum, Mexico city, Mexico
    oil painting closeup, the Soumaya Art museum, Mexico city, Mexico | I love the variety of textures created in this fabric.
    veronica winters painting
    white fabric detail-Smithsonian
    White fabric detail at the Smithsonian National Art Gallery. | Notice how abstract the details look, painted over the base color. Stroke direction and curvature are essential to describe forms, shapes, and textures.
    how to paint realistic details-white fabric and gold details- the Smithsonian
    White fabric and gold details, the Smithsonian. | Notice how gold reads as gold because of a few light highlights added to the general shape of these golden accents. How to mix gold color: You should use browns with a touch of either red or yellow (depending on the reflected light) to mix gold color. It’s not about mixing lots of yellow into the oil paint, rather, it’s using ochre and brown oil paint like raw sienna, burnt sienna, raw umber, and burnt umber to create the shape first and then adding some strategic highlights over it where the light hits it the most.
    Élisabeth-Louise Vigée Le Brun, The Marquise de Pezay, and the Marquise de Rougé with Her Sons Alexis and Adrien 1787. Image downloaded from the Smithsonian website. | This is a beautiful close-up of the female face that shows how to paint hair, face, and fabric. The hair is always soft in classical art painting. The fabric has soft edges but definite highlights. The earring has the most defined edge. French female painter, Vigée Le Brun, was a self-taught artist who was quickly noticed by her future husband, famous art dealer Jean Baptiste Pierre Le Brun. The artist enjoyed both the opulent lifestyle and career in Paris and way beyond France, painting the wealthy and royals in Austria, Russia, Italy, Germany, England, etc. She is known for her official portrait of Marie-Antoinette. Her high-paying clientele loved her art style – creative poses based on classical ideals, realism, and color choices.
    Élisabeth-Louise Vigée Le Brun
The Marquise de Pezay, and the Marquise de Rougé with Her Sons Alexis and Adrien
1787
    Élisabeth-Louise Vigée Le Brun, The Marquise de Pezay, and the Marquise de Rougé with Her Sons Alexis and Adrien 1787. Image downloaded from the Smithsonian website. | Although I find Le Brun’s art less intriguing in terms of subject and meaning, I think her ability to paint realistic gowns and details is supreme. Notice how she catches the light on fabric in broad strokes of golden pink. We can feel the shimmer of fabric looking at this intense turquoise-blue and a lush golden sash.
    details of hands and animal-the Smithsonian
    Details of hands and animals, the Smithsonian.
    de heem details-the Smithsonian
    de Heem, still life painting detail, The Smithsonian, National Gallery of Art | The seventeenth-century painter, de Heem, is one of my favorite Dutch still life painters who captured the life of the wealthy in lux objects and food items. I learned a lot about classical realist painting by studying Dutch art, mainly composition, color choice,s and objects’ texture. His deliberate compositions feature a careful balance of all objects and textures. Usually, a piece of fabric leads the eye to the focal point. The background has subtle colors that support high-contrast still life.
    de Heem, oil painting details of glass, fabric, and silver. The Smithsonian.
    Dutch painting of donuts and sweets at the Smithsonian.
    Dutch painting of sweets at the Smithsonian.
    ringling art museum_Munari_still life with plates
    Munari, still life with plates, closeup, the Ringling Museum of Art.
    Lavinia Fontana, jewelry painting detail, The Smithsonian
    Lavinia Fontana, Portrait of Costanza Alidosi, close-up of jewelry- c. 1595, oil on canvas, National Museum of Women in the Arts, Washington. | A famous female artist of her time, Fontana lived in Bologna, Italy, in the late 1500s. It was highly unusual to have a name and a career as a female artist in Europe before the late 19th century. It was also a strange choice to depict the mythological nudes at that time. Like other female artists of the past, she was trained by her father, Prospero Fontana, in the late mannerist style. When she married, her husband became her manager; Apparently, Lavinia made a lot of money painting portraits of noblewomen and religious subjects for churches because she had a big family of 11 children whom she supported!
    Golden jewelry and fabric details at the Smithsonian
    Lace and jacket fabric details at the Smithsonian.
    Rembrandt, Lucretia, 1664, dress details. The National Gallery of Art (Smithsonian) has 737 works of art by Rembrandt! Notice how abstract the strokes are, describing the texture and light of the fabric. These are thick strokes with deliberate rotation and movement of the brush.
    Rembrandt, Lucretia, 1664, dress and jewelry details. Notice how the artist uses grays to juxtapose colors. Thick, painterly strokes shape and sculpt the subject.

    This article is getting updated with new art ideas. So come back soon by subscribing to my awesome VIP list!



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  • To Do A Demo | Ana Shioshita

    To Do A Demo | Ana Shioshita


    Ana Shioshita | Episode 1125

    Ana Shioshita is a potter working in Vancouver Canada. Ana was lucky enough to grow up in Boulder Colorado around a lot of clay from a young age. Ana has spent the last decade designing for film, and has only recently started focusing on pottery full time. Ana is interested in creating work that conveys a sense of movement with the static medium of clay.

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    How do you decide on something to demo?

    As this is the first time doing it I can only answer for this time but it was sort of something that is interesting, fits the tools available, and also something that I have done enough that I am pretty sure I am not going to mess it up in front of people.

    Are there secrets that you are going to hold back that you don’t necessarily want to give as a freebie at a demo?

    Honestly, no. This has been a thing that has come up with the drippy vases a lot. It was an issue at one point. I think holding back secrets is something that you can totally choose to do. I sort of hope that if you are transparent with people they are going to have enough artistic integrity  to know the line between applying this to a technique to my own thing and copying a design.

    When you are demoing a product line do you feel like it is authentic because you are a user of that product and that brings authenticity to what you are showing?

    The simple answer is that I wouldn’t demo for something that I wouldn’t use. And that is something that has come up with social media is people being like, Hey would you try this thing and promote it on your social media? And so far my answer has been, No, it has to be something that I truly use and wholeheartedly recommend. I am not knocking when others do it, but for me doing a demo I want it to be something that I can say, No, this is good and I want to tell you why its good. 

    How does taking time to practice and think through what you are going to demo help you be better at what you do?

    For the demo specifically, I have a really poor concept of time and how much time things take. So the biggest thing was that I would run through it the things that I have in my head and see how long it takes. Then I could see that it was a little dry, but I thought it was really valuable information.  Then I knew that I either had to step it or pare it back as far as speed.

    When you are not in the studio, what do you do for fun?

    I go to movies and go hiking. During the film strike a couple years ago I became a sea kayak guide. So I do that during the summers.

     

    Book(s)

    The Murderbot Series by Martha Wells

    Contact

    shioshitaceramics.com

    Instagram: @shioshita.ceramics





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  • Through a Love of Note-Taking, José Naranja Documents His Travels One Tiny Detail at a Time — Colossal

    Through a Love of Note-Taking, José Naranja Documents His Travels One Tiny Detail at a Time — Colossal


    From postage stamps to jetliner specifications to items he packed for the journey, José Naranja’s sketchbooks (previously) capture minute details of numerous international trips. “I’m lost in the intricate details, as always,” he tells Colossal. Everything from currency to noodle varieties to film references make their way into small books brimming with travel ephemera and observations.

    Naranja is currently working on a thicker book than he has in the past, which is taking more time to fill, along with an illustrated card project called 2050, which merges science, tech events, and his signature “beauty of note-taking” aesthetic. The artist has also reproduced some of his sketches in The Nautilus Manuscript, a small batch-printed, hand-bound edition available for sale in his shop. Follow updates on the artist’s Instagram.

    a small sketchbook with elaborately designed travel notes and drawings, on a table with artmaking tools like pens and ink
    a small sketchbook with elaborately designed travel notes and drawings, on a table with artmaking tools like pens and ink
    a small sketchbook with elaborately designed travel notes and drawings
    a small sketchbook with elaborately designed travel notes and drawings, on a table with artmaking tools like a stencil and stamps
    a small sketchbook with elaborately designed travel notes and drawings, on a table with artmaking tools like pens and ink
    a series of small sketchbooks with elaborately designed travel notes and drawings
    a small sketchbook with elaborately designed travel notes and drawings
    a small sketchbook with elaborately designed travel notes and drawings, on a table with artmaking tools like pens and ink
    a small sketchbook with elaborately designed travel notes and drawings, on a table with artmaking tools like pens and ink
    the tops of a series of closed, small sketchbooks showing how full they have become, with color and details on the edges





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  • Youth Art Month (YAM) Trivia: Ignite Curiosity and Celebrate Creativity!

    Youth Art Month (YAM) Trivia: Ignite Curiosity and Celebrate Creativity!


    When you encounter an intriguing trivia question, you may notice you sit up taller and tenser, lean in closer to the screen, or even raise your eyebrows. That’s the power of trivia! A good fun fact is gripping and sparks a curiosity that makes us want to learn more. Trivia activates our sense of wonder and invites us to explore the world in new ways, which is exactly what art education and Youth Art Month are all about. 

    Turn Youth Art Month into a schoolwide celebration with a trivia competition to get everyone buzzing about the arts!

    holding the golden paintbrush in an art room

    Work with your administration to set the stage for success.

    The first step to launching a schoolwide trivia game is to engage your administrators. Share how trivia can foster teamwork and critical thinking while energizing the school community. Connect the benefits for the school to the mission behind Youth Art Month (YAM) to make your case. YAM shines a spotlight on the importance of art in schools. Its mission is to promote observation, problem-solving, creativity, and communication—all of which art trivia supports as well!

    Introduce trivia to teachers early to get them involved.

    Once your administration is on board, share the idea with your colleagues. Present Youth Art Month Trivia at a staff meeting through a sample game to garner excitement! Explain the format and don’t forget to mention any agreed-upon incentives!

    Select a week or month for the school to participate. If you’re doing one week, students will begin each day or first-period class with a trivia question. If you’re doing a month, spread it out to one day each week. Provide pre-populated slides to all staff members with the question of the day. Allow students to discuss and decide on an answer together as a class before the teacher submits the class’s final answer. This setup keeps the activity quick and organized!

    vincent van gogh trivia on the board

    No buy-in? No problem!

    If getting full-school participation in Youth Art Month Trivia feels like a challenge, don’t worry! You can still make art trivia a success. Run the trivia game in your art room with your students. Start class with a quick trivia question and let your students work together to find the answer. This approach keeps the activity contained while still building excitement.

    You can also take the game online to involve families and the wider community. Post weekly trivia questions on your school’s or art program’s social media pages. Encourage students and parents to work together to answer the questions and leave their responses in the comments.

    Make schoolwide implementation simple with a link.

    Teachers are busy, so simplify the trivia process for all. Create a link to a slideshow with art trivia questions. Participating teachers can copy and paste the questions into their weekly slides or use yours, eliminating extra prep work. Include a link to an online form for teachers to submit their class’ responses. This keeps everything in one place and ensures answers stay organized for you!

    girl pointing at trivia on a smartboard

    Keep trivia fresh and exciting with a variety of question types.

    Offer different kinds of questions to ignite interest in new ways. From visual challenges to inquiry-based prompts, a mix of questions will ensure trivia feels fun and dynamic every time.

    Get inspired with these three creative approaches to trivia:

    1. Reveal a Painting
      Build close observation skills and encourage students to think critically about how small details fit into a bigger picture. Choose a famous artwork and cover it with several squares or rectangles to mask the painting. Each minute, reveal a new section of the painting by deleting a square. As you reveal the painting, students will guess what it is.
    2. Standards-Based Questions
      Reinforce learning by reviewing key concepts from your curriculum. Ask questions about color theory, perspective drawing terminology, or printmaking tools.
    3. Inquiry-Based Questions
      Encourage research and critical thinking with questions that prompt students to explore art history. For example, Which Mexican artist turned a traumatic bus accident into inspiration for vivid, emotional self-portraits that explored her pain and identity? (Answer: Frida Kahlo.)

    reveal a painting

    Expand your trivia repertoire with these additional resources:

    Build excitement with rewards and a final celebration.

    Celebrate the winning class each week with an administration-approved award! Include the participating teacher in the award or give them a small gift to show your appreciation for their support of Youth Art Month and the arts. 

    Here are some fun award ideas:

    • Present a “Golden Paintbrush” award. Display it prominently to encourage friendly competition.
    • Host an Art pARTy with an open studio for students to explore special materials.
    • Allow students to have a “Dress Down Day.” This is particularly incentivizing if you are at a school that requires uniforms.
    • Distribute school-appropriate art-themed vinyl stickers.
    • Invite students to eat lunch in your art room and share a few art-themed treats.

    golden paintbrush and paint supplies

    Trivia is much more than entertainment! It can spark curiosity, build teamwork, and bring energy to learning about the arts. This Youth Art Month, make trivia the centerpiece of your celebration and art the talk of your school. Get administrator support, make it easy for all teachers to participate, and provide incentives for colleagues and students to set your initiative up for ultimate success. If you want to elevate your art program in just a few minutes each day, grab your golden paintbrush and let the games begin!

    What words of wisdom can you share about hosting a schoolwide initiative? 

    Tell us your favorite types of art trivia questions!

    To chat about Youth Art Month with other art teachers, join us in The Art of Ed Community!

    Magazine articles and podcasts are opinions of professional education contributors and do not necessarily represent the position of the Art of Education University (AOEU) or its academic offerings. Contributors use terms in the way they are most often talked about in the scope of their educational experiences.



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  • ‘Of Salt and Spirit’ Celebrates the Legacy of Black Southern Quilters — Colossal

    ‘Of Salt and Spirit’ Celebrates the Legacy of Black Southern Quilters — Colossal


    You may have heard of the remarkable quilters of Gee’s Bend, but do you know about the Crossroads Quilters, like Gustina Atlas? Or Hystercine Rankin? Mary Mayfair Matthews? You’re in luck if you have a chance to visit Of Salt and Spirit: Black Quilters in the American South at the Mississippi Museum of Art, which shines a light on dozens of incredible Black Southern quilters and takes a celebratory approach to showcasing their myriad styles and techniques.

    MMA is home to one of the South’s largest collections of quilts, from which more than 50 handmade and machine-stitched examples were drawn for this expansive exhibition. Merging research, interpretation, and community engagement, curator Dr. Sharbreon Plummer aimed for “a cohesive, experiential study of American art through a Black feminist lens.” The show parses cultural narratives around the art form, spotlighting the impact of the craft across generations and geography.

    Emma Russell, “Star Quilt” (1978), cotton blend; hand-pieced, appliquéd, and hand-quilted, 81 x 77 inches

    A wide range of contemporary and historic pieces converge in Of Salt and Spirit, including figurative and narrative works alongside vibrant geometric compositions. Many of the works were acquired by the museum from Roland L. Freeman (1936-2023), a photographer who documented African-American craftspeople and guilds in his work as a stringer for Time magazine and Magnum Photos.

    Freeman collected more than 100 quilts, made several of his own, and published a couple of books on the subject. “Quilts have the power to create a virtual web of connections—individual, generational, professional, physical, spiritual, cultural, and historical,” he says in his second book, A Communion of the Spirits (1996).

    In conjunction with the exhibition, the museum also highlights the large-scale, ongoing AIDS Memorial Quilt project, which was initiated in 1985 at the height of the epidemic. Paralleling Of Salt and Spirit’s focus on creative expression, identity, and strength, the AIDS quilt—which will be on display at MMA for a two-week period beginning May 5—honors quilting for its role in resistance and remembrance.

    Of Salt and Spirit continues through May 18 in Jackson. Plan your visit on the museum’s website. You may also enjoy a look back at Souls Grown Deep Like the Rivers, a monumental survey recognizing the artistic traditions of Black artists.

    Mary Mayfair Matthews, “Folk Scenes Quilt” (1992), rayon, cotton polyester blend, lace, lamé, and buttons; hand-pieced and appliquéd, 86 1/4 x 74 inches
    Annie Dennis (designed by Roland L. Freeman), “Voodoo Quilt” (1987), fabric; hand-pieced, appliquéd, hand-embroidered, and hand-quilted, 83 1/2 x 64 inches
    Detail of “Voodoo Quilt”
    Gustina Atlas, “Variation on Dresden Plate Quilt” (1998), cotton; machine- pieced and hand-quilted, 81 1/2 x 80 inches
    Clancy McGrew, quilted and appliquéd by Jeraline Nicholas, “Storytime at the Library” (2004), fabric; machine-pieced, appliquéd, embroidered, and hand-quilted, 41 3/4 x 83 1/8 inches
    Mabel Williams, “Improvisational Strip Quilt” (1968), cotton, polyester, wool, twill; hand-pieced and hand- quilted with appliquéd and embroidered backing, 85 x 65 inches
    Clancy McGrew, quilted by Tammy McGrew, “Clancy’s Beauty Salon” (2004), fabric; machine-pieced, appliquéd, and hand-quilted, 67 5/8 x 49 1/2 inches
    Roland Freeman, “Maya Angelou, Author, Educator, and Quilter (top left and bottom right); Dolly McPherson, Maya Angelou, and Beverly Guy-Sheftall (top right and bottom left), Winston-Salem, North Carolina, November 1992” (1992), Chromogenic print with quilted mat (1996) by Anita Knox, 36 x 36 inches
    Roland Freeman, “Catherine Gill with Sunburst Quilt (left) Made by Her Mother, Classy Blaylock, from
    Decatur, Mississippi, Flagstaff, Arizona, April 1993″ (1993), Chromogenic print, 27 x 38 inches



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  • ‘Blems’ – Available Only at Our Anthe Storefront

    ‘Blems’ – Available Only at Our Anthe Storefront


    Our new storefront is fully up and running these days – and one of the benefits of visiting us in Covington is the opportunity to shop our Seconds Shelf (which is the Boarded Bookcase from “The Anarchist‘s Design Book“).

    On it go all of the books and tools that aren’t quite perfect – items we can’t sell at full price. Maybe we spilled coffee on the pages. Maybe a cover was put on upside down at the bindery, or a few pages got folded incorrectly at assembly. Or the post service damaged the book in shipping. Or we dinged a hammer head while seating the wedge. This is all good stuff – readable and usable…just a wee bit blemished.

    As a result of this less-than-perfection, these books, tools and accouterments are priced well below their usual retail price…and you have to visit us to get them. We can’t ship them. We’d lose money if we did…and not only because of the packing and shipping cost, but the human cost in keeping on top of online listings and the like. There is usually no more than one or two of any given title/item, and it would be prohibitively person expensive/time consuming to deal with listing them online.

    So I’m afraid you’ll have to come to 407 Madison Ave., Covington, Ky., 41011 to partake. Bonus: You get to see us, and hang out for a while in our beautiful river city!

    Store hours are currently Monday-Wednesday-Friday from 10 a.m.-2 p.m.

    – Fitz

    p.s. About those store hours: I regularly receive emails with special requests to come in early/late or on an unscheduled day. I beg you to please stop sending those. While we might change the hours in the future, for now, these are the hours. In our other hours, we are writing/editing books, building something in the shop, making tools, spending time with friends and family, communing with our cats….



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  • A Forth Attempt | Dennis Blatchley

    A Forth Attempt | Dennis Blatchley


    Dennis Blatchley | Episode 1074

    Dennis Blatchley is a ceramic artist living and making in Cornwall, United Kingdom. Dennis makes a wide range of slipcast terracotta tableware with a distinct matt finish. Dennis’ work comes in a choice of colours, that can be ‘mixed and matched’ to create a variety of exciting colour combinations.

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    What makes this attempt different from the past?

    It is certainly different because I have the support of my partner. I wouldn’t be able to do it if she didn’t have a steady job, if we couldn’t afford to possibly lose money. It’s all in the end about the capital that had to go into making the work.

    What does a making day look like for you? What does it mean for you to make your garden shed area work for you?

    I get up in the morning, I put on my wellies, I go into my shed and put on what is a terrible little heater, it doesn’t really give out any heat. I think it’s psychosomatic and makes it feel like there’s some heat. And I don’t have running water in there so I have to get various buckets of water, I put on some music, I clear the space, and I start making some pots.

    How often are you able to fire your kiln?

    Probably on average every couple of weeks.

    You are a growing business. How do you keep track of your customers?

    I don’t and I should. And that is something I need to set up. I need to have a mailing list and I don’t at the moment. People contact me mainly through Instagram.

    What is the next piece that you would like to develop?

    At the moment I am trying to work on what’s essentially just a large bowl with a lid. It’s quite big, like a large salad bowl with a lid but it’s proving very problematic. The biggest problem I have with my work is warping. I fire my earthenware clay to quite a high temperature and so any sort of discrepancy in thickness it really punishes me for. So that’s the goal next year hopefully, if I can pull that off I will be pleased.

    What is one thing you love about having a small workspace?

    Oh well, the turn over. The fact that I can fire my kiln every couple of weeks. I mean opening the kiln, putting stuff in the kiln, and firing pots is basically what I love. It’s the drama. Making pots is a mini drama. Every pot I make, it’s a little drama. I’m trying to make that pot even if I have made that shape many times before, I am trying to make the best version of that shape every single time and then I stick it in the kiln and every time I am hoping it is going to be the very best version of it. Having a small kiln, that’s the joy of it. I fire a lot. I am opening the kiln a lot. I’m getting stuff out a lot, assessing it, feeling good or bad about it depending on how things have gone and then moving on. So that is the pleasure of having a small space and a small kiln.

    Book

    Remembrance of Things Past by Marcel Proust

    Contact

    dennisblatchleyceramics.com

    Instagram: @dennisblatchley.ceramics





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