Archive for April, 2012

Jonescast ep. #17 with Garth Johnson!

Thursday, April 19th, 2012

Podcast #17

Garth Johnson seems to be in a lot of places at once, and is somehow always at the point of convergence where art and ideas take place. Early on in Lincoln, NE he was involved in the local music scene, where he met friends who would later on connect him with LA comedy. Garth also has a life in acaedmia in Eureka, CA and is still able, no, make that willing, to keep connected to other, seemingly disparate non-academic movements (craftivism, Maker Faire, DIY). Garth is interested in the connections between people, material, and the importance of making. He’s written extensively about ceramics and craft and still manages to make his own work. The only thing that impresses me more than Garth’s ability to juggle so many things at once is the fact that he sees the ceramic world much differently than most who are invested in it: that there ought to be a lot less hand wringling about our place in the larger art world, that we are stronger than we think, and that we need to look outside of ourselves to really make creative inroads when it comes to concept and execution. He drops a lot of things to check out in this conversation, keep a notepad and pencil ready and check them out later on.
 

Show opening at Museum of Contemporary Craft!

Monday, April 2nd, 2012

Brian Jones April 1st Weds Banner

First Wednesdays are a series of special events for Museum of Contemporary Craft members and patrons of The Gallery. These events allow us to host our monthly featured artists with an intimate reception while providing our Museum audience and collectors with the opportunity for a first look at new work. Complimentary wine and refreshments will be offered, so be sure to stop in and say hello.

 

GALLERY FEATURE
Brian Jones


April 4 – 28, 2012

ARTIST RECEPTION

Wednesday April 4, 6 – 8pm

 Artist Talk 7pm

Toward the end of Jones’ graduate career he began to experiment with placing functional pots into a non-functional context. The convention that a pot is “complete” after it has been fired is something that Jones was working to subvert by the addition of other materials following the glaze firing (Essentially, he was locking plates into a wooden case where the audience could not access them.) Ways of questioning a pot’s function, both as an object and a narrative element, would naturally arise as different materials were composed to create new layers.

This juxtaposition complicates the reading of the work, slowing the comprehension and experience of what may appear to be a simple object. The pot’s domestic surroundings, the casual way in which it is constructed, and its surface against that of another material give the work a constructed and contemplative significance that will divulge its identity over time.

Brian Jones working in studio