Hello Everyone, Yourist Studio is offering a selection of new classes this Spring and summer. If you know anyone who may be interested, please pass this message along.

For more information check out our class schedule on the web http://www.youristpottery.com/classes.html
or email kay@youristpottery.com

::ADVANCED CLASS - “PUT A LID ON IT”
6 or 14 Weeks

Kate Tremel teapot

This 14-week, team-taught, course will introduce students to a variety of methods of creating both wheel-thrown and hand-built lidded forms. In the first 7 weeks of class, Kate will guide students through exercises to create a series of thrown covered jars with different lid styles. They will finish the first half of the term with a larger project involving either a teapot or a casserole form. During the second half of the course, Nancy will instruct students in making several types of lidded boxes and covered jars using slabs, and other hand-building techniques.

Instructor: Kate Tremel/Nancy Bulkley
14 week class tuition: $349
6 week class tuition: $180

To gain the most from this class we recommend that you enroll for the full 14 week semester

*Wednesday evening series: May 1 - Aug 6 6:30-9:00 (14 week session)
Wednesday evening series: May 1 - Jun 4, 6:30-9:00 (6 week session)
*Wednesday evening series: Jun 18 - Jul 30, 6:30-9:00 (6 week session)

*No class July 16th

————–

::COFFEE & CLAY - INTRO & ADVANCED HAND BUILDING
They say breakfast is the most important meal of the
day. Come make forms that will hold hearty and
nourishing breakfast delights. Ramekins for baked eggs, bowls for oatmeal or grits, plates for cream cheese and bagels… We will complete our class with a breakfast potluck, using serving ware that we have made. This class is for students of all levels.

Instructor: Nancy Bulkley
6 week class tuition: $159

Saturday morning series: May 3 - June 7, 9:30-11:30

——-

::LOW-FIRE CLAY: COLOR, TEXTURE & DECORATION
In this 8 week class of in depth exploration, students will work with rich red terrracotta clay. We will complete a range of functional and sculptural projects, which will involve both hand-building and wheel-throwing. Students will learn to develop surfaces using a variety of historic and contemporary techniques by applying colored slips, maijolica inglaze painting, textured sculptural glazes and stains, and burnished terra sigillata. If you like color and painting or you feel like you need to develop your decorating skills, this may be the class for you!

Instructor: Kate Tremel.
8 week class tuition: $259

Tuesday evening series: May 6 - Jun 24, 7:30 - 9:30

——–

::SPLENIFOROUS GARDENING FORMS
Come learn various hand-building techniques to create interesting containers for your flowers and plants, houses for the birds or even a bird bath. Your imagination is the only limit. Using a variety of slab and coil techniques we will make useful and beautiful garden art to use and gaze upon. This class is for Students with all levels of experience.

Instructor: Nancy Bulkley
6 week class tuition: $159

Tuesday morning series: July 8 - Aug 12, 9:30 - 11:30

———

::GLAZE DEVELOPMENT FOR RIGHT BRAINERS
Do you want to develop new glazes quickly and easily? A basic understanding of glaze materials may be all you need. This class is designed for students wishing to increase their knowledge of glaze materials and how they function in a glaze. Students will learn to interpret formulas, use line and triaxial blends and conduct tests to discover fabulous new glazes. Color development, textures and glaze fault correction will be discussed. We will also practice glazing technique. Some clay work will be included in this class, as we will make lots of test pots.

Instructor: Deb Oliva
6 week class tuition: $159
Lab fee: $20

Tuesday evening series: July 8 - Aug 12, 7:30 - 9:30

CALL FOR ENTRY – May 1, 2, and 4, 2008
Images of Mothers
MAY 9 – JUNE 13, 2008

Thousand of images of Mothers dating back to 30,000 – 25,000 BC have been found across Europe. These ancient primordial mother figures and images represent the eternal creativity of women and of the Earth herself. The first images worshiped the mysteries of birth, cycles, and fertility. The ancient Great Mother was a dual figure, both benevolent and terrifying. The Goddess metaphor, a symbol for “the goddess within,” the liberated female spirit, was literally worshiped through witch cult or druidism, as a pagan substitute for the patriarchal judgmental attitude of main-line Judeo-Christianity with its anti-nature and anti-sex biases. Mothers can change social dimensions and are carriers of social utopias. (Chile, Mothers of the Disappeared.) Everybody has one, but to talk about her implies to learn how to speak about mother. Let’s approach and be inspired by one of the oldest and everybody\’s first Images of Mothers.

Juror: LAURA WHITESIDES HOST

Laura Whitesides Host, BFA University of Michigan, is an exhibiting watermedia artist; enjoys painting and printmaking; teaches experimental painting and monotypes at the Birmingham Bloomfield Art Center and is one of the founding members of Lawrence St. Gallery, an artist-run exhibit space in business since 1987.

* * * * * * *

CALL FOR ENTRY – May 1, 2, and 4, 2008
Images of Mothers MAY 9 – JUNE 13, 2008

GROSSE POINTE ART CENTER
15001 Kercheval, Grosse Pointe Park

Show Awards
First Place $300, Second Place $200, Third Place $100, 4 Honorable Mentions

Eligibility and Specifications
Participation is open to all artists 18 years and older. Work must have been done in the last three years. Works completed under an instructor are not eligible. Work juried into a prior GPAA show is not eligible. All art forms except room installations are acceptable. A diptych or triptych will be considered as one piece, if attached. Companion pieces are considered separate pieces. No specific size limitations, but gallery space will be considered during jurying. Two & three-dimensional work to be hung must be properly wired for hanging. Physical take-in preferred, but digital or CD imagery acceptable if complete view of piece (no details) and dimensions are provided. Submission limit: two (2) pieces per artist. Email Subject: Images of Mothers gpaa@grossepointeartcenter.org Acceptance is dependant upon juror & GPAA.

Entry Procedure and Sales [Check calendar for specific dates]
All work must be for sale. No price on request. No changes in price after entry. Entry fee $25 for members and $35 for non-members. All work 30% commission upon sale. All sales payable to: GPAA

Liability/Agreement
Entries will be handled with all possible care. GPAA will not be responsible for loss by fire, theft, or other damage, whether caused by the negligence of its officers, members or others. GPAA reserves the right to reproduce accepted entries for publicity purposes. GPAA reserves the right to alter dates or cancel the show at any time. All works remain until show ends.

Calendar for Exhibition:
Submission of Art Work: Thurs,May 1, 12 – 6 pm
Fri, May 2, 11 – 5 pm
Sun, May 4, 3 – 8 pm
Jurying & Notification Calls to Entrants: Monday [Do not call – we will call you.]
Pick-up of all work not in show: Tue & Wed, May 6 and 7, 12 – 6 pm
Show Opens, Reception & Awards: Fri,May 9, 6:30 – 9:30 pm
Show Closes: Fri, June 13, 5 pm
Work Picked-up: Sat, June 14, 11 – 5 pm

ENTRY FORM TO BE SUBMITTED WITH ART WORK:
(Can be obtained at art center at time of submission.)

Location of Grosse Pointe Art Center: 313.821.1848 www.grossepointeartcenter.org
15001 Kercheval, corner of Kercheval & Wayburn, Grosse Pointe Park, Michigan, 48230

I94 West to Cadieux exit,
Left on Cadieux (you will be in Detroit) Cadieux into Grosse Pointe until you reach Kercheval. Turn Right on Kercheval travel about 1.5 miles. Gallery is located on the corner of Wayburn and Kercheval.

I94 East to Cadieux exit
Right onto Cadieux (you will be in Detroit) Cadieux into Grosse Pointe until you reach Kercheval. Turn Right on Kercheval travel about 1.5 miles. Gallery is located on the corner of Wayburn and Kercheval.

Buckham Gallery, Flint
Through May 3, 2008

“Signatures” at the Buckham Gallery in Flint (MI) is devoted strongly to installation art as well as art-as-object. This unique gallery’s raftered loft-space supports a show of diverse works that comes together with cohesive power and interest. While there is some commonality among the artists in their use of found/recycled materials and sometimes high-tech materials and fabrication techniques, each artist applies his own unique signature – in terms of ideas, creative methods, and truths.

Larry Cressman is a visual poet. Two large wall installations meticulously constructed with delicate black tree branches and twigs work in concert with their cast shadows on the white walls to create mesmerizing images. A floor installation uses an array of scrap materials – things we walk over every day – but gathered by this artist for all their worn, weathered, and weighty characteristics. Often scraps are joined together by wire or string.

Another piece is a wall of shelves that hold paper, cardboard, and other flat scraps which are fixed together as bound and glued, and called “prints” by Cressman. These intricate, labor-intensive works are fascinating with their multiplicity and visual richness, yet there is a tenuous feel to them. They are beautiful, but fragile, and suggest the stressful sociopolitical state of our times.

Music history substantiates the worth of musical artists in their time, and provides basic and ultimate values of episodic time. Through Charles McGee’s art, time has revealed both of the above. His work always has been like music – most specifically the rhythmic and improvisational beat of jazz, and it has given him masterful insight into a broad range of art, which is evident in this expansive and balanced exhibition that he curated. In his own art, McGee gives us constant visual music. Several approaches, including combinations of painting and collage; complex metal sculptures that utilize computer and high-tech cutting and painting technologies; and dynamic linear sculpture swing us and bounce us with what he calls energy. There is no doubt that a series of metal relief sculptures, dealing with the virtues of modern medicine, project such dynamic activity by way of abstracted figures and bio-organisms that we are jolted into a state of exhilaration.

Meanwhile, our eyes may be soothed back to the rich texture, color, and celebrative figuration in several painted-collaged combination works. In these pieces, paint, in conjunction with fabric, paper images, and other unconventional materials create form and surfaces that pull us close in for intimate, nuanced experiences. McGee’s energy is the essence of life in art, and it also defines his own artful life that has moved him through a long and important career.

No art has value without structure and this exhibit emphasizes that issue through the sculpture of Harry Zmijewski. His work addresses the concreteness of how a sculpture is put together; the nature of materials; and engineering concepts. There is no abstraction or figuration; rather, concept/content is literally read in processes or systems. This reading is similar to the aesthetics of mathematics.

For instance, a row of boxes along a wall repeat the process of geometrically being bound to their containers in direct seriality. The repetition specifies the forms, materials, and processing that creates a beauty of configuration via repeating proofs.

A few Zmijewski pieces take on random binding and containment and crude processing, and appear experimental, but suggest a breakdown of rigid system, and point to potential value of looser structures. Overall, Zmijewski’s work reveals the beauty of system and process; the intrinsic nature of material; and the importance of physical structure in three-dimensional form.

While the title Signatures may signify the individuality of the artists, the exhibition is much more than that. The energetic and rhythmic movement of Charles McGee’s work carries us through the gallery and leads the viewer to the other works. It also influenced his curatorial choice of including the differing art of Cressman and Zmijewski to create an integrated forum.

Accordingly, the stress on physical structure in Zmijewski’s sculpture helps us recognize the importance of this element in the art throughout the gallery – be it the structure of movement in McGee’s compositions or the structure of grouping and repetition in Cressman’s quiet, contemplative installations, which provide contrast to the dynamics of the other two artists. This is a cohesive and powerful exhibit of richly developed art.

Buckham Gallery has been an important venue for new art for twenty-four years. It is a significant resource for art viewers at 134 ½ West Second Street in downtown Flint. This exhibit can be viewed through Saturday, May 3, 2008. Gallery hours are 12 noon-5pm Wednesday-Friday, and 10am-3pm Saturdays.

New contributor Marvin Anderson is Professor Emeritus, Eastern Michigan University, where he taught art since 1963. He also served on the Board of Directors and Exhibition Committee, of Detroit Focus Gallery, from 1994-1998. With a bachelor of fine arts from Wayne State and an MFA in Sculpture from Cranbrook Academy of Art, Anderson has exhibited extensively around the region, including at the Detroit Institute of Arts.

Pictures by Marvin Anderson, Install shots courtesy of Larry Cressman

1. Call for Submission Representing Cultural Diversity in the Fine Arts
Ways of Being, Ways of Seeing: River Gallery Fine Art in Chelsea, Michigan seeks artist submissions that represent cultural diversity in order to expand their current inventory of fine artists in all media. River Gallery is committed to progressing beyond the status quo and to fulfilling our full potential of exhibiting works representative of the diversity of the art and artists present in our culture.

We are seeking fine art expressing diversity of:
Ethnicity
Gender/sexual expression
Age
Physical abilities
Race
Political beliefs
Religious beliefs
Socioeconomic status
Educational background

Deadline: Ongoing
For submission information go to our website at www.chelsearivergallery.com or call the gallery at 734.433.0826

2. Call for Submission: Fine art in all media
River Gallery Fine Art in Chelsea, Michigan seeks artist submissions in order to expand their current inventory of fine artists in all media.

Deadline: Ongoing
For submission information go to our website at www.chelsearivergallery.com or call the gallery at 734.433.0826

Patti Schwarz, Director
River Gallery Fine Art
120 S. Main Street
Chelsea, MI 48118
734.433.0826
www.chelsearivergallery.com
patti@chelsearivergallery.com

Call for Artists!

The Ann Arbor Art Center seeks submissions for its 86th annual exhibition, Annual: All Media. Michigan-based artists are invited to submit up to two works in any media to this juried competition. This year’s juror Vincent Castagnacci was a Professor at the University of Michigan School of Art & Design for thirty-four years. Postmark deadline for entries is June 23, 2008. A prospectus including rules, application procedures, and a calendar of dates can be found on our website, http://www.annarborartcenter.org/docs/annual08_prospectus.pdf. For questions or more information, contact Irene Gelbord at 734.994.8004 x 110 or igelbord@annarborartcenter.org.

The Institute for Arts Infused Education offers
multiple professional development trainings for artists and teachers!

Marygrove College Institute for Arts Infused Education presents two professional development workshops in May. These workshops are great for teachers and teaching artists. They offer a chance to work with others in your field and develop lesson plans and skills you can directly transfer into the classroom.

Saturday, May 3, 2008, 8:30am to 3:00pm
Using the Arts to Teach Geometry
Course # AR-103

This workshop will present teachers working with teaching artists to present hands-on activities using the arts to investigate Geometry and English Language Arts. Teachers will work in cohorts (K-2, 3-5, and 6-8) to learn how to incorporate arts standards into math and ELA grade level content expectations.

Saturday, May 17, 2008, 8:30am to 3:00pm
Using the Arts to Teach Graphing and English Language Arts
Course # AR-104

In this workshop, will also see teachers working with teaching artists presenting hands-on activities, but this time using the arts to teach Graphing and English Language Arts. Once again working in cohorts, participants will create lesson plans they can immediately use in their classrooms. Participants will also learn about brain-based education and how to talk to parents about the learning styles of their children.

The cost is $65 each day for these May workshops and we will offer .5 SBCEU’s per day. Continental breakfast and lunch are included.

A schedule breakdown for each day is included in the attachment.

TO REGISTER: please call the Marygrove College Enrollment Center toll free 866-903-3033.

FOR ADDITIONAL INFORMATION: please contact Mary Lou Greene, Director, IAIE, 313-927-1853, mgreene@marygrove.edu or Elizabeth DiDonna, Administrative Assistant, 313-927-1538, edidonna@marygrove.edu.

Visit IAIE website: http://www.marygrove.edu/academics/art/aie

Come do art! You won’t believe how good you will feel and all of the ideas you will have to take back to your classrooms!

MARYGROVE COLLEGE
8425 West McNichols Road
Detroit, Michigan 48221
313-927-1200
www.marygrove.edu

Juror: Ed Fraga

Deadline: Wednesday, April 23, 2008

Blooms, Bugs, Beasts is an annual exhibition with a theme of flowers, insects, animals, landscapes, and seascapes. Submissions may be made as jpgs, photographs or slides. Participation is open to all artists. Entries will be accepted by mail or may be dropped off in person at the Scarab Club until 5 pm on Wednesday, April 23rd. Entries dropped off after gallery hours may be left in the mailbox located to the right of the front door.

For more information, please download the call for entry form here, or by visiting http://scarabclub.com/exhibits.html. The exhibition will run from May 21st-June 29th. Contact Treena Flannery Ericson at tericson@scarabclub.org, with any questions.