Contemporary ceramics invasion

The National Council on Education for the Ceramic Arts (NCECA) Conference took Philadelphia by storm early this month, covering the city, almost literally, in clay. For a few days Philadelphia was full of people who make their living with their hands dirty and their imaginations at full play, all of them eager to discuss the latest ideas and the newest tools, and to check out what everybody else is up to.

Of all the arts, ceramics seems to prompt the greatest sense of community. Ceramic artists are accustomed to sharing"“ particularly kilns and heavy expensive equipment"“ and it seems to make them a chummy bunch. It just may be that those who work with clay are, like their material, down-to-earth, with not only their feet but also their hands on the ground.

You won't find a better example of a sharing community than the Clay Studio in Old City, which hosted the conference and helped facilitate its 90 exhibits. This remarkable institution offers classes to adults and children, fosters careers, and provides residencies for advanced artists. As a final gesture last week, the Clay Studio opened all studios and classrooms so visitors got a chance to see its extensive facilities and chat with artists and students.

John Williams, a resident artist with a studio on the top floor, talked about the work he displayed in "Earth Matters" at Moore College of Art, one of the conference's most ambitious exhibitions. His pure white cast molds of miniature topographic models sit quietly, each accented by a tiny model of a human-made form"“ the conning towers of a nuclear power plant, a turbine, etc."“ in shining flawless gold. Against the matte, unassuming white of the "land," the effect of the gold is lush and dramatic"“ the two parts, intentionally, don't quite fit together. Questions about what we value and how we show it come naturally.

Other pieces in the show, by local and national artists, were less subtle but equally thought-provoking.

Alfred University's legacy

Another Mecca for the ceramic arts is Alfred University in upstate New York, where many of today's best working artists got their education and/or taught others. No discussion of contemporary ceramics gets far without a mention of this extraordinary program, and several of the exhibitions around town paid homage to Alfred in one way or another.

Sub Octo Gallery in South Philadelphia features the work of Val Cushing, the revered master who did much to shape Alfred University's program during his 40-year teaching career. His neatly rolled handles top bulbous shapes and neat angled forms that manage to exude power and modesty simultaneously; Cushing's work is made to be functional, but even the smaller pieces have the presence of monumental sculpture.

The Cushing show at Sub Octo runs through April 25, and Cushing will return to speak about his work on April 24.

Simple at first glance, but…

At Snyderman-Works Galleries in Old City, the Alfred Experience is common ground for the show entitled "Conversations, Coincidences & Motivations" (through May 15). Here the range of approach is enormous, but throughout I found a largess of vision matched by excellent craftsmanship— an exhilarating combination.

One standout is a platter by Josh De Weese"“ simple at first glance, but with a swirling confidence in the clay handles and in the glazes that race across the surface like breaking waves.

Ceramics is one of the most exciting areas in contemporary art. Thanks to NCECA, Philadelphia is fortunate to have much of the best right here right now.