Ink & Clay 43
Established in 1971, Ink & Clay is an annual competition of printmaking, drawing, ceramic ware, clay sculpture, installation and mixed media utilizing any variety of “ink” or “clay” as a material. The exhibition is sponsored by the W. Keith and Janet Kellogg University Art Gallery of California State Polytechnic University, Pomona and is underwritten by the generosity of the late Col. James “Jim” H. Jones with additional support from the Office of the University President. This year’s jurors are Joan Takayama-Ogawa, Nancy Haselbacher, ceramics and printmaking faculty, respectively, from the Otis College of Art and Design, and Anne Martens of the J. Paul Getty Museum.
Juror Criteria Statements
Juror Anne Martens
Art’s relationship to time matters. How does a work of art evoke the reverberations of history, frame if not reshape contemporary concerns, and assert future relevance? The medium also matters. It carries a unique language of meaning that is both separate from, and inseparable from, the work’s concept. The artist’s mastery of the medium supports how well the work communicates.
Experiencing art involves noticing thoughts, emotions; and do they linger? It’s important to be open to art’s provocations. The surest sign of a work of art’s effect: whether your curiosity fades or grows exponentially, with time.
As one of the jurors for the 43rd Ink and Clay competition, I thought about the paradoxial nature of clay. During the plastic stage, did the work demonstrate properties of clay: wet, soft, slippery, workable, and impressionable? Did the clay memorize what the artist was feeling, thinking, and sensing? When “bone dry,” did the piece make it through the fragile and breakable stage? After bisque firing, where the physical and chemical water are burned out, did the work demonstrate glaze and surface virtuosity? At the glaze stage, did the work demonstrate subtle, flamboyance, or somewhere in between? Whether the work was low, medium, high, pit, gas, or electric firings, I looked for how the surface followed the form. Above all else, I looked for purity of form and surface. Did the work catch the viewer’s attention and upon closer inspection, did the form and surface engage the viewer? Highly narrative commentary was an added bonus, but not privileged over form and surface.
Nancy Jo Haselbacher
There are such a wild range of wonderful work in these entries that in choosing work for this exhibition, my first criteria was selecting pieces that really caught my attention and ‘stopped me in my tracks,’ so to speak. If I wanted to examine it closer and come back to it again and again, I knew I was really engaged by the artist’s intentions. I also responded to works that elicited emotion or provoked further contem-plation. Looking at the work over time is also critical since quieter works sometimes take several viewings to reveal multiple interpretations. The merging of superior craft and concept is always important to me when choosing work for exhibition so I inspected the pieces closely. And finally, I kept returning to the theme of the exhibition, ‘Ink and Clay’ and chose works that I felt pushed the boundaries of the media or were beautifully situated in that theme.”
Jurors for Ink Works
Born in New York City and raised in rural New England, Nancy Jo Haselbacher examines the ephemeral traces of inhabitation in physical spaces through her work. She explores issues of mystery, movement, and presence within the body and the landscape through forms of printmaking and photography. As a hybrid of one artist and graphic designer, Nancy taught digital media for fteen years and ran a small printmaking workshop in Boston before moving to Los Angeles to become Creative Director at the executive search rm, Korn/ Ferry International.
In 2004 she returned to the studio and academia earning an M.F.A. in Printmaking from The Rhode Island School of Design. She now maintains Indelible Press studio and an independent curating practice in Los Angeles while teaching printmaking as an Associate Professor at the Otis College of Art and Design. Her exhibition venues include Temple University in Rome, The Institute of Contemporary Art in Boston, The Scuola Internazionale di Gra ca Venezia in Italy, The Craft and Folk Art Museum in Los Angeles, The Center for Contemporary Printmaking in Connecticut, and The Museum of Urban Art and Culture in Boston. In 2016 and 2017, two versions of her large scale library-based installation, “Borrowed, Mystery, Romance and Knowledge” were featured in both “Unbound: Contemporary Artists Inspired by Books” at the Eleanor D. Wilson Museum in Virginia as an installation, and in the Los Angeles Craft and Folk Art Museum exhibition, “Chapters: Book Arts in Southern California”.
Anne Martens is engaged in the Los Angeles art community in many contexts: as an artist, as a curator of exhibitions, as a writer and editor for art publications, as a creator of interpretive content for a major museum. Consequently, her experiences often combine these roles of artist, art historian, journalist, and media producer.
Anne holds an MA in journalism from the University of Maryland and an MFA in photography from The Visual Studies Workshop in Rochester, NY. Her art practice is rooted in photography and installation and investigates the nature of visual perception and memory. Exhibitions she has curated have focused on the intersection of painting and sculpture.
Since 2009, she has frequently contributed to Artillery magazine and has also guest-edited issues devoted to contemporary art photography. From 2003 to 2012, she served as an LA based critic for Flash Art International.
At the J. Paul Getty Museum, Anne is a media writer and producer of interpretive content targeted to public audiences. Media platforms include audio and video, websites, social media, and in-gallery presentations. Earlier careers ranged from designing webpages for an internet company to teaching journalism and art, to covering labor politics as a photojournalist in Washington, DC.
Jurors for Clay Works
Joan Takayama-Ogawa comes from a family whose involvement in ceramics goes back six generations. She studied under the renowned Ralph Bacerra and went on to develop work that used ancient Japanese ceramic forms as a guide in creating contemporary pieces that utilize decoration and imagery of an American lifestyle.
She continues to push the boundaries of ceramics by integrating clay with digital and rapid prototyping technologies. Her ceramics are in the permanent collections of the Renwick Gallery, Smithsonian Institution, deYoung Museum Fine Arts Museum in San Francisco, World Ceramic Exposition Foundation, Icheon, South Korea, Princessehof Leewarden Nationaal Keramiek Museum, Leeuwarden, Netherlands, Los Angeles County Museum of Art, Oakland Museum of California, Long Beach Museum of Art, American Museum of Ceramic Art, Racine Art Museum, George Ohr Museum, New Orleans, Louisiana, Hallmark Collection, and Celestial Seasoning Tea Company. She served as a Pasadena Design Commissioner and on the Board of Directors, American Museum of Ceramic Art. In 2007, she received a Center of Cultural Innovation Investing in Arts Equipment Grant to purchase a large, new front loading energy efficient grant. In 2004, she was Otis Teacher of the Year and Commencement Speaker. Publications include over 30 books and magazines.