New Ceramic, September/October 2015 issue. 

New Ceramic, September/October 2015 issue. 

Ceramics Now, Issue 3, Summer 2015, Interview with Vasi Hirdo.

Ceramics Now, Issue 3, Summer 2015, Interview with Vasi Hirdo.

Constructed, an invitational exhibition curated by Peter Christian Johnson at the The Nightingale Gallery, Eastern Oregon University.

Constructed, an invitational exhibition curated by Peter Christian Johnson at the The Nightingale Gallery, Eastern Oregon University.

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The Arizona State University Art Museum is renowned for its extensive and notable craft collection and features international acquisitions in wood, ceramic, and fiber. This book, edited by the museum's curators, uses the ASU collection to explore the idea of craft within a critical context, as both idea and action. Crafting a Continuum begins with the genesis of the craft collection and relates it to the historical development of craft in the United States and abroad, exploring both anthropological and cultural concepts of the field.

Andrew Casto (American, b. 1977) creates highly textured mixed-media works such as Assemblage
44 (2012) in which colored glazes overlaid with ribbons of gold luster produce a
geode-like effect. Casto expanded his sculptures into full-scale installations during a longterm
residency at Archie Bray from 2011 until 2013. His presentation diminishes any lingering
preciousness: his sculptures swing precariously from neon yellow cables, perch at
odd angles from wooden shelving, and seem to defy gravity in chaotic growth spurts, with
chunky appendages and half-formed protuberances. His organic forms—something that
hovers between a spore growing a spiky, beautiful fungus and an artificial rock made for a
natural history display—play with biomorphism while mapping the human appetite for geological
formations and exploration, which is also a way of experiencing or marking time. We
often perceive the deep time of geology to be nearly impossible to grasp. Casto’s work trades
in the traveler’s impulse to visit to caverns, caves, and tawdry highway “wonderspots,” and is,
at base, a low-level search for a taste of the vastness of the universe and its slow changes
over many millennia.
— Jenni Sorkin, Assistant Professor of Art, UC Santa Barbara, as detailed in "Crafting a Continuum, Rethinking Contemporary Craft", Copyright 2013, The University of North Carolina Press.
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The VII Biennial of Ceramics has surpassed our best expectations. It is clear that the creativity of artists around the wold does not stop, despite the serious social, economic, and political circumstances that affect us. It is evident we need to communicate, to develop our feelings, our ways of seeing, and artists make that through their work. For ceramic artists, it consists in a visual, concrete voice, where the idea and the message become image, color, presence, essence of a particular and unique inner world: the one that every artist masters. And this voice comes from all over the world. From the United States, Canada, Russia, Switzerland, Israel, Hungary, Turkey, Greece, Japan, Italy, France, Spain, Catalonia, among others. It is a symphony of colors and images that talk to us about the world, about beauty, about intimacy and the particular concern of creativity.
— Albert Sole, Councillor for Culture, El Vendrell, Spain
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