Figure A Red, 2009,
19.25 x 16 x 12.5 HWD in.,
Whiteware, Mixed Media

Patti Warashina : Wit and Wisdom
American Museum of Ceramic Art (AMOCA)
July 14 - September 29, 2012

A retrospective celebration from the 1960s through the present

In contrast to the single-note output of many artists, Patti Warashina’s ceramic art exhibits wide variety in size and scale, in techniques, and in concepts. Her willingness to strike out in her own direction is only surpassed by her willingness to reinvent herself. In the 1960s, while most ceramicists were captivated by the throwing process, she abandoned the wheel in favor of hand-building and molds; while typical work of that time was done in earth-tone glazed stoneware, she used white clay bodies and experimented with color; and while abstract expressionism was the preferred approach, Warashina favored concrete images and human figures. Patti Warashina refers to her roots as being uncomfortably planted in Abstract Expressionism and the macho tendencies of the day: "You had to take a piece of clay and beat it. Really take a stick to it. I loved it, but for other people. It wasn't very personal to me." She gradually abandoned stoneware and high-fire glazes for more control and tighter non-accidental surfaces.

Warashina’s interest in ceramic history led her to explore everything from the rococo-like decoration of English Rockingham porcelain, made in the 1800s, to classical statues of gods and goddesses sighted while visiting Rome. The latter served as inspiration for her large-head series.  Her chosen themes include the human condition, feminism, car-culture, political and social topics, and insider art issues. Nearly always over-arching Warashina's three-dimensional expressions is her sense of humor. Whether a spoof on contemporary concerns or a satirical commentary on today’s political landscape, she titles each work with a clever twist of words or a pun to emphasize her point. This presentation is also intended to pay tribute to Warashina’s many years of dedicated teaching, underscoring the importance of continuing to teach courses fully devoted to ceramics.”


A Fired Landscape, Gallery Installation

Margie Hughto
A Fired Landscape
Everson Museum of Art
October 1, 2011 - January 12, 2012

Internationally recognized mixed-media artist Margie Hughto presents her first site-specific museum installation entitled A Fired Landscape, a “clay painting” spanning 50 feet of gallery wall space. Inspired by the artist’s spectacular backyard gardens and natural landscape just steps from her studio, The Fired Landscapeinstallation consists of Setting Sun, a brilliantly colored ceramic wall relief displayed continuously on five angled walls. The visitor encounter is reminiscent of what one experiences when surrounded by the natural environment. Overall, Setting Sun isa ceramic abstraction, but Hughto establishes a connection to the landscape that inspired it by adding impressions of natural objects such as native ferns, marine life and fossils, into the wet clay and then coating the surfaces with brilliant color. The rich palette of burnt oranges and fiery reds evoke the sun’s glowing light and radiating warmth. Tiny pieces of glass embedded in the clay prior to firing add sparkle to the glossy green and blue glazes used to suggest the artist’s lily pond.

Margie Hughto is currently a professor of ceramics at Syracuse University’s College of Visual and Performing Arts. Her work has been included in numerous exhibitions since the 1970s and she has completed permanent public artworks across the country including a monumental ceramic painting located in a subway stop in Buffalo, NY, and ceramic tile murals for the Metropolitan Transit Authority (MTA) of NYC. The panoramic Trade, Treasure, and Travel, a series of ceramic murals spanning 30-feet designed for the Cortlandt Street MTA subway station, was installed two levels beneath the World Trade Center in 1998. Three years later, it miraculously survived the September 11 terrorist attacks unharmed. With the 10-year anniversary remembered this past September, Hughto’s work of art will be celebrated once again as a symbol of the city’s resilience. In January 2012, visitors to Syracuse’s new Public Transportation Common Center just a few blocks from the Everson, will get the first views of a major public artwork created by Hughto specifically for this location.

The Visual Poetry Of Gilda Oliver
The Cryor Art Gallery at Coppin State University, Baltimore
March 8-April 12, 2010
click here for images from the show

This exhibition covers Gilda Oliver's exploration of her distinctive and bold ceramic heads and busts as well as her most recent series which does include large ceramic murals, photography and drawings furthering the artist's search for the connection between visual art and poetry.

Robert Sperry
Bright Abyss
Bellevue Art Museum
October 10, 2009-
January 31, 2010

This retrospective explores the life and artistic evolution of one of ceramics’ great innovators: Robert Sperry. Originally organized by the American Museum of Ceramic Art, the local presentation of this exhibition has been expanded to include pieces from public and private collections in the Northwest, giving a comprehensive panoramic view of his legacy as a seminal contributor to American ceramics and contemporary art. It highlights over 70 works, including platters, wall plaques and sculptures, examining Sperry’s lifelong dedication to innovation in ceramic art.

Patti Warashina
2009 Regis Masters Exhibition
Northern Clay Center & Minneapolis Institute of Arts
September 25-
November 8, 2009

This exhibition examined Patti Warashina exploration of the human figure which has been an absorbing visual fascination in her work. She uses the figure in voyeuristic situations in which irony, humor, and absurdities portray human behavior as a relief from society’s pressure and frustrations on mankind. At times, the figure is used in complex arrangements so that it will be seethingly alive.


Shin Sang Ho’s major ceramic mural Fired Painting from 2006 added to the permanent collection of The Lowe Art Museum at the University of Miami and on view at the new Palley Pavilion.

Palley Pavilion
Ronald Mateu, Mateu Architecture
Photo Credit © Carlos Domenech     

Over the last five decades, The Lowe Art Museum has developed its holdings in the fine and decorative arts in distinctive ways. Its 16,000-object collection is one of the most important in the Southeast with strengths in Renaissance and Baroque, American, Ancient and Native American and Asian art. The development of its highly regarded collection is traced through sustained support from Miami and winter resident patrons who, from its beginning, have supported the Lowe with major gifts of art and funding.

The new Myrna and Sheldon Palley Pavilion for Contemporary Glass and Studio Arts features a stunning $3.5 million glass collection with masterpieces by Dale Chihuly, Richard Jolley, William Carlson, Shin Sang Ho and others as well as three dimensional art by some of the most talented artists in contemporary art. A major ceramic mural titled Fired Painting from 2006 by Korean artist Shin Sang Ho has been added to the collection in October 2008. The Palley Pavilion opened on May 1, 2008 thanks to the vision of long-time University supporters and alumni Sheldon & Myrna Palley, who donated their $3.5 million collection. The first major addition to the museum in 12 years, the pavilion will be used for exhibitions, programming, research and teaching. Showcased in 3,500 square feet of gallery space are 113 pieces, 70 from the Palley’s collection, as well as works contributed by Janet and Joseph Shein, Joan Baxt and Bernie Bercuson.

Fired Painting measuring 79 x 98 ¾ in. consists of 20 glazed ceramic tiles creating a visually stunning mural with its juxtaposition of brilliant hues and pure abstract beauty. According to Ronald Kuchta, curator of Loveed Fine Arts and editor of American Ceramics Magazine, this work reveals Shin as a supreme colorist in his formal organization of vivid colors.

Ronald Kuchta, a curator and director of Loveed Fine Arts comments on Shin Sang Ho's retrospective exhibition at the Clayarch Gimhae Museum in South Korea:

In October Shin Sang Ho's retrospective exhibition-The Shin Sang Ho Exhibition-opened at the spectacular, recently opened Clayarch Gimhae Museum in Gimhae, South Korea. A 236 page catalog accompanies this gorgeously installed exhibition organized in three parts and three chapters in the catalog which includes Shin Sang Ho's three most recent series of works "The Dream of Africa" series, "The Structure and Force" series and the "Fired Painting" series. The three series we commented upon in the catalog respectively by Edmund de Waal of the U.K., Jean-Pierre Frimbois of France and Ronald Kuchta, a Director of Loveed Fine Arts of the U.S.A. The catalog is translated in Korean, French and English assisted in the French translation by Daniel Hamparsumyan, also a Director of Loveed Fine Arts. Both Daniel and I attended the opening ceremonies in Korea and enjoyed the hospitality of the artist and his family in Seoul as well as Gimhae. The astonishing drama of the installations at the Gimhae Museum revealed the wonderfully innovative genius of Koreas most well known ceramists, whose command of color most so prominently displayed in his extensive fired painting series revealed an entirely new look of work that has, we believe, universal appeal for the contemporary world of art in general.

Women Touch: Ceramics
Curated by Sylvia Netzer and Ronald Kuchta

June 26 – July 21, 2007

Opening Reception
Thursday, June 28th 6pm – 8pm

NEW YORK, NY, JUNE 2007 — Women Touch: Ceramics will be on view at A.I.R. from June 26 – July 21, 2007. The opening reception will be held June 28, from 6–8 PM.
Sylvia Netzer, A.I.R. Gallery Artist, and Ronald Kuchta, Director emeritus of the Everson Museum of Art and associate of Loveed Fine Arts have reunited to curate this exhibition of women ceramicists. A collaboration of A.I.R. Gallery and Loveed Fine Arts, Loveed Fine Arts has specialized in contemporary ceramic sculpture and wall works for the past twenty years.

Although ceramic artworks are shown in galleries worldwide, there is a need to showcase outstanding work by women artists who explore the unique possibilities of the medium.  The artists in Women Touch: Ceramics are from England, Norway, Korea, Finland, Slovakia, Bulgaria and various parts of the United States. 

Liz Surbeck Biddle combines silkscreened images with ceramic forms. Christie Brown creates sculptures that draw inspiration from Egyptian art.  Mary Carroll makes lush vessels that are fecund and feminist. An eggshell mosaic serves as the surface of a sculptural sarcophagus by Marian HeyerdahlMargie Hughto’s wall hung work consists of a collage of images in clay. Jong Sook Kang’s abstract and art deco forms are adorned with textured matte glazes of black, silver, and gold with red accents.  Cyborg-like forms called “Transhuman Personae” are Pat Lay’s metaphors of the human experience in the 21st century. Nancy Lovendahl explores the relationship between eggs and nests.  Sylvia Nagy’s organic forms of slipcast stoneware are colorful and engaging.  Gilda Oliver’s heads confront the viewer with the scars of everyday life on their faces.  “Protectors,” stoneware and wire forms that are deterrents to the “bogeymen” of the present day are the work of Maria Rudavska. Dong Hee Suh slices her clay to reveal the forms hiding within.  Susan Tunick incorporates geometry, color and surface texture to create a trompe l’oeil effect. High-fired porcelain is Rouska Valkova’s medium of choice for her geometric wall sculptures. Maria Vallila’s whimsical, magical pieces play with form, surface and color. Patti Warashina’s “Drunken Power Series” imply political, social and environmental scenarios that affect “the quality of life.”

Founded in 1972, A.I.R. Gallery celebrates its thirty-fifth year of exhibiting exceptional work by women artists.  With a commitment to showcase work that is underrepresented in the New York art world, A.I.R. supports these artists who express their ideas and passions through ceramics. A.I.R. Gallery is located at 511 West 25th Street, NYC. Gallery hours are Tuesday through Saturday 11am-6pm. For information please contact the director, Kat Griefen at 212.255.6651 or Daniel Hamparsumyan, the Director of Loveed Fine Arts can be contacted at 212.605.0591 or

Loveed Fine Arts exhibits at SOFA NEW YORK 2007, the Tenth Annual International Exposition of Sculpture Objects & Functional Art to be held at the Seventh Regiment Armory-Park Avenue & 67th Street from Friday, June 1st to Sunday, June 3rd, 2007, booth No. 412.

SOFA has become for more than twenty years the premiere international fair which bridges the worlds of contemporary decorative and fine arts. Loveed Fine Arts will be showing for the eighth year a bold and attractive selection of contemporary ceramic works of art, both figurative and abstract by Charles Birnbaum, Regis Brodie, Christie Brown, Margie Hughto, Jong Sook Kang, Marc Leuthold, Steve Montgomery, Gilda Oliver, Shin Sang Ho, Dong Hee Suh and Patti Warashina. We will also be introducing Barry Hoods evocative and profound glass sculptures. We are delighted to introduce to the SOFA audience an important new body of work by Patti Warashina titled the Drunken Power Series that implies political, social and environmental scenarios. In addition, the recent quote in the New York Times on Margie Hughtos Wall Street monumental mural has confirmed the level of maturity achieved by her work SOFA will be open Friday from 11 am to 8 pm, Saturday from 11 am to 8 pm and Sunday from Noon to 6 pm.


Loveed Fine Arts is pleased to present in collaboration with Pahk located at 17 East 71st Street, 3rd floor, New York, NY 10021 an exhibition of new sculpture by Marc Leuthold. The exhibition, titled “The Lowest Trees Have Topps” will be on view from June 1 through June 30, 2006.

Marc Leuthold, sculptor, born in 1962 is having his first solo show in New York in nearly 20 years. He has been recognized internationally as one of the most gifted artists working in carved porcelain today. In spite of the long hiatus from the New York gallery scene, Leuthold has not been idle. Since those early years, his carved sculptures have entered some of New York’s best collections including the Metropolitan and Brooklyn Museums, and the Museum of Art and Design. Edward Merrin and Jack Lenor Larsen have collected his work. In 2003 critic John Perreault remarked: "One looks and looks for artists who break up history, who bend the descent, who force one to connect the dots in new ways, even turn away from some. Leuthold is one of these."

Leuthold, the son of European immigrants, is interested in cross-cultural experiences. As a result, he has accepted invitations to make art all over the world. He is particularly interested in Asia, Africa, and the Mediterranean. It is therefore not surprising that his work is eclectic and mediated by myriad interests and influences. The current exhibit, “The Lowest Trees Have Topps” curated by Ronald Kuchta, former Director of the Everson Museum of Art, consists of selections from his most recent bodies of work. In a departure from his past work, there is a series of heads. Inspired by Cycladic art, the artist mentions being fascinated by Matisse, Braque, Picasso and a number of other European artists who absorbed influences from other cultures and periods. Leuthold recalls in particular a portrait of Matisse in his studio with a Cycladic figure on the mantle piece. He is working in a similar vein, investigating abstraction of the human form.

There are important examples of his fluted carved wheels, inspired by Abtract Expressionist painter Jay DeFeo's work, and Bi discs from Neolithic China. Leuthold has been making ever more complex and ambitious variations of these wheels for the past 15 years. Some consider these his signature works.

Other bodies of work that are represented include a series of linear, gestural sculptures. These are intimate works that at the same time appear to be monumental. The artist mentions that they may be sketches for large outdoor bronzes. These works also harken back to the days of Abstract Expressionism. Finally, there is a grouping of pieces, the artist calls "receptors." These ear-like works are organic-and though non-objective, have a sensual quality about them.

The exhibit’s title, "The Lowest Trees have Topps" references a poem by 16th Century English poet, Edward Dyer and this poem serves as a back-drop for the entire exhibit. The last couplet of the poem mirrors the artist's thoughts as he was making these sculptures:

"True heartes have ears and eyes, no tongues to speake:
They heare and see, and sigh, and then they breake."

Leuthold observes that the poem reflects how many people feel today and yet because Dyer's poem is from a bygone period it conveys the timelessness of these concerns.
Marc Leuthold teaches art at the State University of New York and at Princeton University. He is one of forty Americans who is an elected lifetime member of the International Academy of Ceramics. A more complete listing of public and corporate collections includes the Metropolitan Museum of Art, New York, NY; the Brooklyn Museum, New York, NY; the Museum of Arts and Design, New York, NY; the Bemis Center for Contemporary Arts, Omaha, NE; Everson Museum, Syracuse, NY; the John Michael Kohler Arts Center, Sheboygan, WI; Longhouse Reserve, East Hampton, NY; the Mint Museum of Art, Charlotte, NC; the Museum of Fine Arts, Boston, MA; the Renwick Gallery, National Museum of American Art, Smithsonian, Washington, DC; the Daum Museum of Contemporary Art, Sedalia, MO; Musee Ariana, Geneva, Switzerland; Benaki Museum, Athens, Greece; Icheon World Ceramic Center, South Korea; Seto Cultural Art Center, Seto, Japan; Dokuz Elul University Art Collection, Izmir, Turkey; Urban Glass Archive; Memorial Sloan-Kettering Center, New York, NY and Takashimaya America Inc., New York, NY.

Loveed Fine Arts, 575 Madison Avenue, 10th floor exhibits at SOFA (Sculptured Objects and Functional Art), New York at the Seventh Regiment Armory, Park Avenue and 67th street from June 2 to June 5 2005, booth #410.

This is the gallery's 6th consecutive year as an exhibitor specializing in museum quality ceramic art featuring the work of Patti Warashina, Margie Hughto,   Rudy Autio, Marc Leuthold, Ole Lislerud, Pat Lay, Gilda Oliver, Jeff Mongrain, Dong Hee Suh, John Brickels, Yih-Wen Kuo, Barbara Sorensen, Shin Sang-Ho, Xavier Toubes and Yiannes (selected list). Loveed Fine Arts is one of New York's premier ceramic dealers since its inception almost twenty years ago.

Many of Loveed's artists do commission work. Margie Hughto's glazed tiles, rich with color, can be seen at the subway of the Museum of Natural History and amazingly remained intact at the subway station beneath the World Trade Center. Ole Lislerud, both architect and artist, has designed major installations in forty buildings in his native Norway.

Founder and President, Edward Roberts states "Ceramics is an ancient art form bringing to modern ceramics an aesthetic that comes from working with clay. It is a unique combination of the visual and tactile, sometimes two dimensional (as in tiles or wall pieces) sometimes three dimensional (as in ceramic sculpture). Seen from a collector's point of view it is still possible to round out an existing collection or create a collection as prices are affordable and within reach. The real estate boom of the past few years has increased the desire for commission work to enhance public spaces as well as private residences."
Ronald Kuchta, curator of the Loveed Collection recently lectured at Anne Arundel College outside Anapolis, Maryland on Ten Norwegian Artists, ten ceramists from Norway whose works have been traveling around the world sponsored by the Norwegian Ministry of Foreign Affairs.

The exhibition curated by Kuchta opened in Oslo in 2003 and has been shown in Germany, China and Japan, and is now at Arundel College in Maryland and concurrent with the annual meeting of NCECA, the National Conference of Educators in Ceramic Arts in Baltimore.

Margie Hughto's Red Horse, a monumental wall work, brilliant in color and design, reflecting a theme of pre-historic cave art and fossilized chunks of reddened
earth, was included in an exhibition titled "Particles" and "Passion: The Art of Clay" at the distinguished Academy Art Museum in Easton, Maryland, part of NCECA's
effort to promote ceramic art for their Baltimore conference in all the surrounding towns of Maryland.


Patti Warashina, a world renowned ceramic artist exhibits a new body of work, the Rome Series: Portraits with Loveed Fine Arts at Gallery Pahk, 988 Madison Avenue @ 77th Street, New York, NY 10021 from October 28 through November 27, 2004. Ms. Warashina has shown with Loveed Fine Arts for twelve years but has not had a solo exhibition since 1992 in New York. She was born in Spokane, Washington in 1940 and is a resident of Seattle. Ole Lislerud, born in 1950 in Greytown, South Africa to parents of Norwegian origin, resides in Oslo, Norway. Although both artists work in clay, their works are substantially different.

Over the years Ms. Warashina’s work has ranged from smaller porcelain pieces ablaze with vibrant color seemingly in motion to larger than life sculptures of female figures. Lately Warashina’s work has evolved to large female heads in clay with facial expression and hair frozen in a moment in time. Thirteen portraits will be on view for the first time as a complete series. The artist describes her inspiration resulting from an extended stay in Rome several years ago, “These studies are to be followed by another series of large columnar figures based on caryatids, recalling remnants from Hadrian’s Villa in Tivoli. References to the head as an Ionic capital is loosely connected by the spiral gestures of the hair, but also used to indicate movement in contrast to the weight and scale of the form.”

Patti Warashina holds a B.F.A. and M.F.A. from the University of Washington, Seattle. Her most recent honors are a Distinguished Alumna Award in 2003 from the University of Washington (College of Arts and Sciences) and a 2001 Lifetime Achievement Award/Woman of the year given by Artist Trust, Seattle, WA. Warashina’s work can be found in numerous prestigious collections including the Museum of Art and Design, NY, NY; the Arkansas Art Center, Little Rock, AK; the Detroit Art Institute, MI; the Everson Museum, Syracuse, NY; the John M. Kohler Art Museum, Sheboygan, WI; the Los Angeles County Museum, CA; the Lowe Art Museum, Coral Gables, FL; the Mint Museum, Charlotte, NC; the National Museum of American Art, Renwick Gallery, Smithsonian Institution, Washington, D.C.; the Nelson-Atkins Art Museum, Kansas City, KS; the Seattle Art Museum, WA; the Tacoma Art Museum, WA; the Frederick Weisman Museum, University of Minnesota, Minneapolis, MN; the National Museum of Modern Art, Kyoto, Japan; the Art Gallery of Western Australia, Perth, Australia; the Ichon World Ceramic Center, Ichon, South Korea; the Arizona State University, Tempe, AZ; the University of Colorado, Boulder, CO; the Johnson Wax Collection, Racine, WI and the Microsoft Corporation, Redmond, WA.

Ole Lislerud, Professor at National College of Art and Design in Oslo, Norway, crosses the threshold of art and architecture in his ceramic “paintings” or plaques and walls. His work becomes part of its architectural surroundings as he has over forty public commissions ranging from the Ivar Aasen Museum, the Museum of the New Norwegian language, Orsta, Norway, the Ministry of Justice, Oslo, Norway to different corporate centers, schools and churches. Using clay as a painter’s surface, Lislerud combines in his Metaphorical Portraits images from modern society, such as Marilyn Monroe with pieces of scripture, graffiti, biblical text and other social icons. He stirs the conscience and opposes old with new, intellectual with visual, creating a conglomeration of icons throughout time with a visual contrast together in one work. In some pieces Lislerud studies one element alone, such as Ottoman Hot Lip, Marilyn Monroe, Edvard Munch’s iconic The Scream, text messages and various portraits.

Ole Lislerud holds a B.A. in English from the University of South Africa, attended the University of Oslo studying Philosophy, Latin and Law and the College of Art and Design in Oslo, Norway. Lislerud was awarded a Fulbright Scholarship in 1997. His work can be found in the following selected collections: the Daum Museum of Contemporary Art, Sedalia, MO; the Everson Museum of Art, Syracuse, NY; the Museum of Contemporary Ceramics, Istanbul, Turkey; the Museum of Contemporary Ceramics, Shigaraki, Japan; the Shijingyi Art Museum, Foshan, China; the Zijingingji Art Center, Shanghai, China; the Oldenburg Statsmuseum, Germany; the Ministry of Culture, Oslo, Norway; the Ministry of Justice, Oslo, the University of Oslo Faculty of Law; the University of Oslo, Faculty of Divinity; the Norwegian National Bank, Oslo; the Norwegian Cultural Board; the National Museum of Decorative Arts, Trondheim, Norway; the Riksgalleriet, Oslo; the Vestlandske Museum of Decorative Arts, Bergen, Norway; the Kunstindustrimuseet, Oslo; the Royal Ministry of Foreign Affairs, Norwegian Embassies in Stockholm, Sweden, Tokyo, Japan and Reykjavik, Iceland and Goldman Sachs, New York.

Resumes and photographs available upon request

SOFA/NY 2005:

We are pleased to announce that we will take part in The Seventh Annual Exposition of Sculpture Objects & Functional Art (SOFA) to be held at the Park Avenue Armory, New York from June 2 - June 5, 2005. You can click here to view the website for this event.

A View of Major Themes in Contemporary Ceramics

In a provocative new book titled The Persistence of Craft, edited by Paul Greenhalgh previously Head of Research at the Victoria & Albert Museum in London - now President of Nova Scotia College of Art & Design in Halifax - and published by A&C Black of London, Ronald Kuchta contributes a chapter titled Major Themes in Contemporary Ceramic Art. In it he states: "For me the current contemporary ceramic art scene and its aesthetic production can be surveyed and described thematically in the five basic categories of artistic intent (although with many variations and mixtures):
  • The archaic category: forms inspired by the past, the archaic or antique, the mythological, archeological or historical. Many works in this category I see as "forlorn objects," elegiac in feeling as in a mournful or melancholy poem - full of pathos or reverie.


    The organic category: an organicism or biomorphism as the subject-forms inspired by a fundamental curiosity about the geological origins of the earth or living things on this planet or in space. I also refer to this category as "the primordial" defined as existing in the very beginning as in biology-formed first in the course of development - original, elementary.

  • The modern category: Modernism connoting an interest in a formal purism, as in abstract forms, a quest for a sublime beauty through superb geometrical design and exquisite technique or Modernism in the vein Abstract-Expressionism or of Surrealism with dreamlike content and aberrational or exaggerated forms juxtaposed irrationally.
  • The pop category: works derived and inspired by popular expression, advertising, common objects whose ordinariness or garishness inspires irony-works full of idiosyncratic personal expression or social commentary.


    The traditional category: ceramics of particular ethnic, national or local character, maintaining or refining a regional or national tradition, full of respect for method and continuity of form and design. For instance: H'Sing ware in China; Shigaraki or Bizen ware in Japan; Talavera ware in Spain; Tonala ware in Mexico; Iznik ware in Turkey; Pueblo pottery in the Southwestern U.S.A; Maiolica ware in Italy and interpretations and variations on other folk and regional traditions too numerous to mention - including works by foreign potters or ceramists who strongly emulate the traditional techniques and forms of many of these noted regional styles and well-recognized expressions. Kuchta concludes the chapter by saying: "As we start the new millennium it appears to me that the most creative clay artists among us are searching either the past in history or in nature for inspiration and answers to our present condition on this time obsessed planet - some striving to remind us of what we have lost and may still remember and yet others suggesting the beauty of revealing visions, with great tactility, of the sources of life and secrets of nature."

    Kuchta's essay was based on a lecture he gave in 1998 at the Victoria & Albert Museum in London where he was a keynote speaker at a symposium titled Craft Futures.

    SOFA/NY 2003:
    We are pleased to announce that we will take part in The Sixth Annual Exposition of Sculpture Objects & Functional Art (SOFA) to be held at the Park Avenue Armory, New York from May 28 - June 1, 2003.

    We participated in The Fifth Annual Exposition of Sculpture Objects & Functional Art (SOFA) which was held at the Seventh Regiment Armory (Park Avenue & 67th Street) from May 30th to June 3rd, 2002. SOFA has become the premiere international fair which bridges the worlds of contemporary decorative and fine arts. We were again this year impressed by the stunning offering of ceramic, glass, wood and metal which has prompted Art & Auction to describe SOFA as the fair "that effectively introduced contemporary decorative arts to the broad public…definitely an area whose time is coming." We met both the beginning collector and the sophisticated patron eager to acquire or inquire about artists from around the world. They noticed that we survey a wide international range of ceramic sculpture – from Norway (Ole Lislerud), Taiwan (Yih-Wen Kuo), Hungary (Sylvia Nagy), Spain (Xavier Toubes), Turkey (Beril Anilanmert), Slovakia (Maria Rudavska), Japan (Takako Araki) and of course the United States.

    Figurative as well as abstract works ranged from Patti Warashina’s tall, autobiographical and colorful female figures cought up in the vicissitudes of life to Margie Hughto’s primordial clay wall pieces of layered abstract
    landscape relating to the natural phenomena of the earth.

    Organic, well crafted forms were evidenced in the mandala-like works of Marc Leuthold, trompe-lóeil realism in the construction of Victor Spinski, whimsical surrealism in the colorful forms of Sylvia Nagy, luster glazes in the sea-shell forms of Gilda Oliver, expressionistic caricatures in the giant heads of Xavier Toubes and the archaic torsoes of Louis Mendez, elegant monumentality in the standing female sculptures of Barbara Sorensen, and an elegiac resonance as referenced in the series of hard hats by the San Antonio, Texas artist, Susan Budge.

    Clay as "expression" has been the theme of Loveed’s diverse selection of ceramic sculpture for a number of years. We were gratified by the extremely good response from visitors at SOFA who were prepared to discover and appreciate works that defy the conventional division
    of the world of art. Ronald Kuchta is once again a juror representing the Americas at the second World Ceramics Bienniale in Korea, 2003.

    Several of the artists we represent are currently included in an exhibition titled Clay Works, American Ceramics from the Everson Museum of Art at the UBS PaineWebber Art Gallery on 6th Avenue and 52nd Street
    (through March 28, 2003).

    The exhibition includes ceramics by Margie Hughto, Marc Leuthold, Neil Tetkowski, Rudy Autio and Yih-Wen Kuo. Clay Works contains a selection of works from the Everson Museum's preeminent collection of American ceramics. For information about its exhibition and educational programs contact the Everson Museum of Art at 315-474-6064 or visit the museum web site at

    Artists' News:
    Ole Lislerud
    has just been commissioned to make a sculpture installation consisting of 5 columns in a public space in the city of Aalesund, Norway. The columns will be constructed in China and will be completed in January 2004. His work has also been included in four recent books in China: Overseas Contemporary Ceramic Art Classics by Bai Ming, Exhibition of World Building Ceramics (with the cover featuring his work), Invitational Exhibition of International Ceramics and Design and Use of World Ceramics.

    Jeffrey Mongrain is having an exhibition at the Principalia Museum in Vera Cruz, Mexico and will be included in several group exhibitions in 2003 and 2004 including ones at the Museum of Contemporary Art and Design, New York, NY; the Museum of Applied Arts, "Frankfurt Triennial", Frankfurt, Germany; the Chicago Athenaeum, Chicago, IL; NCECA site projects 2004, Indianapolis. In addition, recent lectures and residencies include ones at the Cranbrook Academy of Art, MI, the University of New Castle, Australia, Rutgers University, the Royal College of art, U.K., the Tyler School of Design and the Pilchuck Glass school, Seattle.Patti Warashina is curating a show for the Clay Studio (April 4-28, 2003) in Philadelphia titled: "Faculty and students of the University of Washington Ceramics Program 1969-1996." Her work will also be included in a three person exhibition, Clay Body with Akio Takamori and Caudia Fitch to be held at the Bellevue Art Museum, WA from September 12 to December 14, 2003.

    The large commission of murals at the American Museum of Natural History’s subway station was recently completed by Margie Hughto. The themes of the murals relate to the natural phenomena of the subterranean and submarine nature. Hughto has assumed the chairmanship of the Ceramic Department at Syracuse University's School of Visual and Performing Arts in January 2003.

    Louis Mendez is having a one-person show of nine three dimensional ceramic heads at Museo Michoacano in Morelia, Mexico from January 30-February12, 2003. Mendez will be teaching a workshop for teachers in handbuilding techniques for ceramic masks and sculpture at the Ceramic Educational Center in Lodi, NJ on March 7, 2003. Contact 1-800-7CERAMIC. He will also be teaching a 5-day workshop in clay sculpture and handbuilding techniques at Art+Clay in Santa Fe, NM from June 10 through 14th, 2003. Contact 1-505-989-4278 or Marc Leuthold's solo exhibit at the The Schein-Joseph International Museum of Ceramic Art opened in January 2003 and will be up through March. The artist will gave a lecture and gallery talk on Feb. 7, 2003. Leuthold's work is on exhibit at the UBS Paine Webber Art Gallery in Mid-town Manhattan. That exhibit is a selection of works from the Everson Museum's permanent collection. Leuthold's work is also currently on display in the permanent collection galleries at the Renwick Gallery of the Smithsonian in Washington. Leuthold's work was included in "Coming of Age" at the Mint Museum of Craft + Design in Charlotte, North Carolina. Marc Leuthold's work appeared on the cover of two ceramics perioicals in 2002, "Ceramics Monthly" of Columbus Ohio and "Neue Keramik" of Berlin, Germany. Recently completed projects include a 66" bronze wheel that was installed in April on the property of Arkansas collectors John and Robyn Horn. An article about this commission appeared in the December/January '03 issue of "American Craft Magazine." Last August, a smaller bronze sculpture was installed on the campus of the University of North Carolina at Chapel Hill. Marc Leuthold has recently returned from Japan where he served as Seto City's Artist-In-Residence in late December through mid-January. He will be lecturing in Vancouver in February, 2003.

    The work of Neil Tetkowski and the Common Ground World Project will be featured in an exhibition opening on April 12, 2003 at the San Angelo Museum of Fine Arts, San Angelo, Texas.

    Mary Carroll was recently included in an exhibition "Three Way Vision" at the Minneapolis Institute of Arts, Minnesota from October to December 2002.
    Barbara Sorensen will have an exhibit of her larger than life-size monumental outdoor sculptures from her new Goddess Series at the Gulf Coast Art Museum in Largo, Florida.
    Sylvia Nagy's work was included in an exhibition of Hungarian-American ceramic art in November and December 2002 at the Hungarian Consulate in New York.
    Victor Spinski's work was shown in the summer of 2002 at the Art Complex Museum in Duxbury, Massachusetts. The exhibition focused on trompe-l’oeil ceramics.

    Grace Wapner's new work will be included in a group exhibition exploring
    landscape at the Mead Museum in Amherst, Massachusetts scheduled to open late August 2003.

    Rudy Autio's new book by Louana M. Lackey, published by The American Ceramic Society is now available.

    Loveed’s recent catalogue is now available featuring a selection of the artists we represent on an ongoing basis, 28 p., color illus., color cover. Price: $10.00 (including sales tax, postage and handling). Please contact us to receive a copy.