The University of Arkansas School of Art is pleased to announce the exhibition, VOICES FOR CHANGE: The Color Network. The exhibition will run from October 30 – December 4, 2020. There will be a panel discussion via ZOOM on Thursday, December 3rd from 5:30-7pm. The event is free and open to the public.

VOICES FOR CHANGE brings together 8 artists from The Color Network and their responses to the violent murder of George Floyd and the calls for anti-racist social reform. The Color Network, an organization of BIPOC artists with the mission to aid and advance people of color in the ceramics field, has been active since the 1970’s. While the collective ebbs and flows, the group has remained a steadfast network of artists that continue to fight for equality within the ceramics field and beyond.

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AuthorMathew McConnell

Faculty Linda Lopez receives Arkansas Arts Council Fellowship

Congrats to ceramics faculty Linda Lopez for receiving a Sculpture and Installation Art Fellowship from the Arkansas Arts Council. Info below:

“Each year, we honor up to nine talented and outstanding Arkansas artists in three different categories,” said Patrick Ralston, director of the Arkansas Arts Council. “These grants help artists pursue their independent projects and endeavors and help perpetuate and build access to the arts statewide.” Individual Artist fellowships are unconditional, non-matching awards made directly to individual Arkansas artists. An independent panel annually selects nine artists in rotating categories to receive fellowships of $4,000 each. Artists from around the state submitted applications for the fellowships in three categories: sculpture and installation art, dance choreography and the writing of novels. 

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AuthorLinda Lopez

“Collecting can come very close to what is involved in the making of art. The assemblage of disparate elements into a totality evokes the satisfying metaphors of wholeness and unity, and the containment or display of what is valuable involves the very same questions of form and function that any artist must ask.”
—William Davies King, Collections of Nothing

Tick-tock, tick-tock… Losing all sense of time, lost in the minutiae, sorting and classifying, discovering new details, our eyes become blurry as another hour passes. One could call this a compulsion, but we instead call it a collection. It manifests in a rumpled baggie full of deeply creased magazine clippings, or a drawer overflowing with 1981 pennies, or an accumulation of images tucked inconspicuously into a desktop folder. Sometimes, it is a thing made. Sometimes, it is a thing found. Sometimes, it is nothing more than a set of memories replayed again and again in the mind, so as not to forget. A collection is an indulgence but it is also a necessity.

While we now take for granted the centrality of collecting as a human behavior, conversations about “collecting” in the gallery context were once most closely associated with connoisseurship and relegated to the affluent. Now, living in a world of digital connectedness, and the endless sub-cultures and information streams it enables, society at-large is prepared to approach cultural production through collection-centric understanding of the world. High and low culture can now blend in unexpected ways, and the artists of Hidden Hour demonstrate the multitude of ways the collector-mindset can both inform the production of artwork, and how to engage with an audience adept as collectors.

This exhibition features seven artists whose work invokes various notions of “collecting.” Adam Milner scours the world around him for discarded or obscure objects to define aspects of identity and relationships. Craig Drennen, who, for the past decade, created artworks based on characters from the critically panned 1984 film Supergirl and Shakespeare’s obscure play Timon of Athens, has acquired a roster of players that can be called upon for any performance. Pam Lins, who is known for interdisciplinary work that addresses how history can be synthesized to convey emotion, presents a collection of crying eyes she has been making weekly since Donald Trump has taken office. Both Rubens Ghenov and Nicole Cherubini focus on the past as a vehicle to explore how we determine value in both everyday objects and those with cultural significance. The drawings of Amy Pleasant seek to document the uniqueness, as well as the commonality, found within the human form. Lastly, the motifs found within Shai Yehezkelli’s paintings—figures, plants, pots— help solidify our desire for the domestic to preserve elements of our h

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AuthorMathew McConnell

Saying goodbye to MFA grad Sam Mack was bittersweet. They are keeping up with the grad school momentum with their first solo show post graduate school at Galleri Urbane! ‘Pass’ is up June 13 - July15, 2019 at Galleri Urbane Dallas. Check it out if you are in the area!

Exhibition catalog here.


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AuthorLinda Lopez

UARK Ceramics is excited to welcome three non-ceramic artists to our ceramic arts residency. Amanda Friedman (Brooklyn, NY), Dan Gunn (Chicago, IL), and Adam Milner (Pittsburgh, PA) are settling into the studios this week. Swing by to see what they are up to and stay tuned for their public lecture (date and time TBA). You can check out their profiles here.


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AuthorLinda Lopez

If you are in Houston, check out this group show including Visiting Assistant Professor Anthony Sonnenberg!

STONEWALL 50 @ Contemporary Arts Museum Houston

April 27 - July 28, 2019

Opening reception at CAMH

Opening reception at CAMH

On June 28, 1969, a police raid of the gay bar Stonewall Inn in New York City, New York resulted in a revolt by its patrons. Their anger and frustration erupted into days and weeks of street protests that catalyzed cultural change as queer individuals realized their political power. Fed up with being persecuted for sexual and gender choices, queer communities and their allies began working both individually and in coalitions to advocate for self-determination, equality, and civil rights.

Stonewall 50 is an exhibition conceived as a snapshot of the complexion, interests, and activities of a diverse group of queer and allied artists. Whether working in local communities or on other continents, these artists’ responses to the worlds around them—in photographs, paintings, films and videos, sculptures, performances, and other media—address a range of personal and collective concerns and desires. Stonewall 50 follows a number of paths: it traces artists’ engagement with trans visibility; suggests possibilities for formal and conceptual inter-generational dialogue; and looks outside the United States to consider queer issues abroad. While these themes provide a framework for the exhibition, the show’s contents are not limited to artworks exploring these notions. This exhibition is organized with an understanding that the privileges and disadvantages that affect the self-determination of sex and gender expression are linked inextricably to cultural perceptions around ability, age, nationality, race, wealth, and a host of other issues.

Today—50 years after the Stonewall Riots—there is much that can be celebrated yet still more work to be done. Legal, social, and political equality for queer individuals continues to be prominent in debates across the United States and the world. In recognition of the continued importance of this vital cultural history, Stonewall 50 celebrates the creative energies of queer folk and their allies.

Stonewall 50 is made possible by a grant from The Hollyfield Foundation and support from Marcy Rothman and Tammy Pye.


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AuthorLinda Lopez

Thanks to all who attended the UARK LAMP exhibition at NCECA! Click the image for a look into the exhibition catalog and essay by Greenwich House Pottery Director Adam Welch.


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AuthorLinda Lopez

April 6 - May 18, 2019

315 Potrero Avenue, San Francisco, CA

This exhibition explores the multiplicity of identities in a time where who we are is both a badge, and a burden. Each artist in the exhibition undertakes this enormity through a personal lens. 


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AuthorLinda Lopez

Swing by FORAGE MODERN WORKSHOP for the UARK LAMP exhibition including MFAs, Post Bacs, BFAs and Faculty! Pick up a catalog of the show featuring an essay by Greenwich House Pottery director Adam Welch.

Join us for the reception on Thursday, March 28, 6-9pm

UARK LAMP

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AuthorLinda Lopez

Congrats to MFA Chris Rodgers ad Minah Kim for the inclusion in the Clay Houston Biennial!

TIMELESS CLAY: Future Artifacts juried by Jennifer Ling Datchuk

March 4- April 6, 2019

Houston Community College

Chris Rodgers, Orange Tree, 2019, Ceramic

Chris Rodgers, Orange Tree, 2019, Ceramic


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AuthorLinda Lopez