Carlos Gary, Mow, 2012

2013 Biennial

a�?Earth/Energya�? Houston, Texas
Opening Reception: Mar 21, 5:30-9PM

Held in conjunction with the Annual Conference in odd-numbered years, the NCECA Biennial is the premier juried exhibition open to all current members of NCECA (both national and international) and to all ceramic artists, 18 years and older, residing in the U.S.

Houston Center for Contemporary Craft will host the 2013 Biennial Exhibition from January 26 – May 5, 2013. The opening reception will take place on January 25, 2013 and a reception will also be held during the Houston Conference on Thursday, March 21, 2013 from 5:30-9:00pm. NCECA produces a color catalog featuring work by all participating artists and may be pre-ordered through NCECAa��s Online Store. Remaining copies may also be available for purchase at conference.

2013 Biennial Participating Artists
Nicole Aquillano a�� Boston, MA Erica Iman a�� St Louis, MO Christa Assad a�� Berkeley, CA
Ryan LaBar a�� Enterprise, OR Tom Bartel a�� Athens, OH Thomas Lane a�� Hudson, WI
Nicholas Bivins a�� Seattle, WA Lauren Mabry a�� Philadelphia, PA RenA�e Brown a�� Missoula, MT
Ted Neal a�� Muncie, IN Josephine Burr a�� Boston, MA Tybre Newcomer a�� Wichita Falls, TX
Gary Carlos a�� Stockton, CA Claudia Olds Goldie a�� Newton, MA Lisa Cecere a�� Wall Township, NJ
Vijay V. Paniker a�� Glenview, IL Du Chau a�� Argyle, TX Joseph Pintz a�� Columbia, MO
AndrA�a Keys Connell a�� Richmond, VA Paolo Porelli a�� Rome, Italy Emily Connell a�� Kansas City, MO
Audrey Rosulek a�� Lolo, MT Shenny Cruces a�� Vacaville, CA Joel Schroeder a�� Green River, WY
Elizabeth DeLyria a�� Katy, TX Linda Sormin a�� Toronto, Ontario Sharan Elran a�� Brooklyn, NY
Mark Nathan Stafford a�� Madison, WI LA�opold L. Foulem a�� Montreal, Quebec Michael Strand a�� Fargo, ND
Teri Frame a�� Ashland, WI George Timock a�� Kansas City, MO Chad Gunderson a�� Bennington, VT
Triesch Voelker a�� Corrales, NM Sarah House a�� New Orleans, LA


Cristina Cordova – Internationally acclaimed for her hauntingly, provocative figurative sculptures, juror Cristina Cordova has a well-established record of museum exhibitions including: Fuller Craft Museum, Brockton, MA; Museum of Contemporary Art, Puerto Rico; Museo de Arte de Puerto Rico, Puerto Rico; Mint Museum of Craft + Design, Charlotte, NC; Mobile Museum of Art, Mobile, AL; Gretchen Keyworth, Society of Arts & Crafts, Boston, MA and the Joseph -Schein Museum, NY. A highly respected workshop teacher, Cristina has led numerous workshops in figurative art in universities and art centers such as: Armory Arts Center, Haystack Mountain School of Crafts, Anderson Ranch Arts Center and Penland School of Crafts where she serves as a trustee. A graduate of Colegio de Agricultura y Artes MecA?nicas, MayagA?yez, Puerto Rico and New York State College of Ceramics, Alfred University; Cristinaa��s work challenges gender and racial boundaries while engendering discourse on intellectual conventions and social mores. Cristina recently exhibited her art in Bestiario at the Morean Arts Center, St. Petersburg, FL during the 2011 NCECA conference and in Push Play: The 2012 NCECA Invitational at Bellevue Arts Museum.
Namita Gupta Wiggers is curator at the Museum of Contemporary Craft in partnership with Pacific Northwest College of Art, Portland, OR, where she directs the exhibition, collection and public programming. Her curatorial work combines her experience and training as an art historian, a museum educator, ethnographer and design researcher, teacher, writer, and studio art jeweler. Through exhibitions and programming, Wiggers considers how craft and design function as subjects and verbs, and as simultaneously distinct and intersecting practices, and how the exhibition operates as a site and space for cultural inquiry.

Recent publications include Generations: Betty Feves (forthcoming), Ken Shores: Clay Has the Last Word (2010), and Unpacking the Collection: Selections from the Museum of Contemporary Craft (2008), the first publication to document the Museuma��s collection and the institutiona��s connections to dramatic changes in craft-based and artistic practice over the past 70 years. Wiggers edited Garth Clarka��s How Envy Killed the Crafts Movement: An Autopsy in Two Parts (2009) and contributes essays for museum catalogues, including Hand + Made: The Performative Impulse in Art and Craft (2010, Contemporary Arts Museum, Houston) and Innovation & Change: Ceramics from the Arizona State University Art Museum (2009, Ceramic Research Center, ASU). Her writing on contemporary jewelry includes Mining History: Ornamentalism Revisited (Metalsmith, 2009), co-authored with Lena Vigna and Curatorial Conundrums: Exhibiting Contemporary Art Jewelry in a Museum Environment (Art Jewelry Forum Website, 2010). She is the co-founder of Critical Craft Forum, and serves on the Board of Trustees, American Craft Council and the curatorial board of accessceramics, an online clay-focused database.

Richard Notkin lives and works in Helena, Montana, creating works deeply influenced by the centuries-old tradition of Yixing pottery from which he has adopted the precise working methods and a penchant for trompe l’oeil. With his artwork serving as an extension of his conscience, Richarda��s ceramic sculptures and tile murals are visual explorations into social and political commentary questioning military misadventures and foreign policy around the world with particular focus on nuclear weaponry and energy. Richard Notkin received his BFA from Kansas City Art Institute and MFA from University of California, Davis. His awards include: Artist Fellowship, National Endowment for the Arts, 1979, 1981, 1988; Fellowship in Sculpture, John Simon Guggenheim Memorial Foundation and The Louis Comfort Tiffany Foundation and the Hoi Fellowship from the United States Artists Foundation. In 2008, he was elected to The American Craft Council College of Fellows. His work is in over 60 public collections including: Metropolitan Museum of Art, Los Angeles County Museum of Art, Cooper-Hewitt Museum, Carnegie Museum of Art, Charles A. Wustum Museum of Art, Mint Museum of Craft and Design, Montreal Museum of Decorative Arts, Stedelijk Museum, Amsterdam, Shigaraki Museum of Ceramic Art and Victoria and Albert Museum, London.

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NEA NCECA Exhibitions are funded in part by a grant from
the National Endowment for the Arts, a Federal Agency.


“Loved the Baltimore exhibitions! (2005 Baltimore Conference Attendee) The clay exhibitions that are organized with the host cities are superb!”
2006 Portland Conference Attendee