For Immediate Release
Conversations in Clay at the Katonah Museum of Art
October 19, 2008 – January 11, 2009
Katonah, NY -- The Katonah Museum of Art presents Conversations in Clay on October 19,
featuring installations by ten internationally acclaimed artists. The exhibition is part of All Fired
Up, a Westchester County-wide clay celebration that encompasses 68 venues. The artists
featured in Conversations in Clay use this ancient material to create contemporary installations
that address such disparate subjects as transience and permanence, nature and civilization,
history and human folly. Many of the artworks are architectural in scale and physically surround
the viewer; more than half were created specifically for the exhibition. The distinguished artists
are: Ann Agee, Marek Cecula, Michael Lucero, Jeffrey Mongrain, Judy Moonelis, Sana
Musasama, Denise Pelletier, Charles Simonds, Betty Woodman, and Arnie Zimmerman.
Conversations in Clay is co-curated by Ursula Ilse-Neuman, curator at the Museum of Arts &
Design in New York City, and Janet Kardon, Director Emerita of that institution. The exhibition
will run through January 11, 2009.
Clay carries history, literally and figuratively. Over tens of thousands of years, rocks in the
earth’s crust weather, disintegrate, and are transported long distances to become clay. When
combined with water, sedimentary clay has a plasticity that allows it to be worked with bare
hands into a multitude of stable forms. When fired at a high temperature, clay is transformed into
rock-hard ceramics—earthenware clay produces opaque, porous pottery with colors ranging
from white to the familiar terra-cotta of bricks, while clays for stoneware and porcelain produce
smoother textured objects with gray to white colors. Whether raw or refined, unfired or fired,
clay is a material with a history. In the hands of an artist, clay’s associations with time, the earth,
and human culture inform and enrich the concepts that are conveyed.
“This exhibition serves as the stage proclaiming clay’s remarkably versatile properties and
hailing its earthly origin and its importance to humankind,” says Ursula Ilse-Neuman. “These
artists engage the visitor in dialogues: each ‘conversation in clay’ offers a distinctive experience
of scale, time and space, with the viewer becoming a part of the conversation through a sensory
encounter that merges the artistic realm with the real world, palpably bringing the ideal down to
earth.”
The simple circular forms of Jeffrey Mongrain’s eloquent wall-mounted ceramic sculpture Our
Eyes are Opened (1805) /We Are Truly One (2008), for example, invites the viewer to
participate in a silent dialogue between the object and its setting. To honor Katonah’s rich Native
American history, Mongrain took a phrase from an 1805 address by Seneca Chief Red Jacket and
memorialized the sound patterns as concentric ridges on one of two segmented disks. For his
second, or “echo” disk, he chose a phrase from Barack Obama’s speech on race, delivered over
two hundred years later. To create the smooth, lustrous, yet mysterious surfaces of these poetic
sound objects, Mongrain carved and wax-polished the ceramic disks after firing them.
Charles Simonds has relied on clay’s historical and structural properties since the 1970s, when
he began building his miniature brick habitations for “little people” with red New Jersey clay.
These poetic evocations of landscape and culture were placed in niches on streets throughout
Manhattan, and most famously on a window ledge in the stairwell of the Whitney Museum of
American Art. In his Katonah work, Mental Earth, Simonds creates an alternative realm in which
the viewer, rather than looking down on Simonds’s small worlds, is dwarfed by an imposing
monumental form that hangs disconcertingly in mid-air like a menacing asteroid.
“Massive in scale, its heavily textured forms thrust themselves from one end of the gallery to the
other. Space is invaded and then overcome, made to be an active partner with the clay,” says
Janet Kardon. “Viewers, always in the forefront of Simonds’s mind, are actually physically
threatened—imprisoned, subsumed, and miniaturized—by the almost suffocating massiveness of
Mental Earth. The space allotted to them is sharply diminished, and a sensation of caution
controls their movement around the work.”
The materiality of earthenware clay and its long association with mankind are central to the
humanity projected by Arnie Zimmerman’s scenes of unending and seemingly meaningless toil.
In Walled City, his figures labor anonymously, cast into a nameless inner city whose walls
merge with those of the gallery. Zimmerman uses age-old forming techniques that he learned as
a potter, and the marks of his labor are clearly visible in each of his hand-built figures.
Using dry, unfired clay from Westchester for his site-specific installation Klepisko, Marek
Cecula compresses time to create an “archeology of the future” in which geological processes are
accelerated through visitor participation. Within his clay floor lie artifacts recalling ancient and
modern cultures, more of which are revealed as visitors walk on the friable surface and break
down its structure.
In Light Project, Michael Lucero treats a wall in one of the galleries as if it were a theatrical
stage. Using spotlights to remodel his clay objects with dramatic light and shadow effects, he
engages them in an ongoing performance in which their surfaces and spatial relationships change
as the viewer moves around them.
In her ceramic pictures Vividareum, Internal Courtyard, and Villa Capri, Betty Woodman
reinterprets the vessel form, breaking it apart into flattened shards covered with exuberant colors.
Ann Agee introduces mainstream culture and contemporary socio-political concerns into
figurines in her installation Boxing. Covering the Museum walls with painted wallpaper, she
creates a backdrop for small, glazed terra-cotta figures that recall eighteenth-century porcelain
table ornaments.
Judy Moonelis and Denise Pelletier take human biology as cues for their works. Fascinated with
anatomical development and the senses, Moonelis leads us on an exploration of the marvels of
the body and its evolution. Mirror Neuron Strand and Evolutionary Wall II suggest connections
between our existence as biological entities and as members of wider social and physical
communities.
In the complex network of forms that comprise Guardian Angel, Pelletier focuses on the flow of
fluids that nourish the body. She alters and reworks slip-cast porcelain molds that are based on
actual historical medical instruments to create ceramic objects that bridge the biological and the
inorganic.
Sana Musasama’s anthropomorphic tree forms operate on a metaphorical level, exploring themes
inspired by the abolitionist Maple Tree Movement that began in the eighteenth century. The
human and tree-like features of these colorful and richly textured forms constitute a metaphor for
remembrance and liberation.
For more information and programming on Conversations in Clay, please visit our website at
www.katonahmuseum.org.
OTHER EXHIBITIONS
October 19, 2008 – January 11, 2009
In the Learning Center
Jeanette Winter: Josefina
The Learning Center features a book about folk artist Josefina Aguilar, who comes from a long
line of clay artisans in Ocotlán, Mexico. Illustrator and writer Jeanette Winter is faithful to the
Mexican tradition in her charming counting book. Josefina tells Aguilar’s story, from when she
first learned to mold clay as a child to the expertly modeled figures she makes today. To
complement Winter’s illustrations, several of Josefina’s clay sculptures are also on display.
On the South Wall
Bo Gehring: Monk Wall
In Bo Gehring’s Monk Wall, the artist transforms a fraction of a second of sound from a
Thelonious Monk solo recording into three-dimensional form. The 160 feet of undulating
styrofoam is painted a vivid yellow, adding texture and color to the Museum’s surrounding wall.
UPCOMING….
January 25 – February 22, 2009
In the Beitzel, Righter, and Project Galleries
Tri-State Juried Exhibition
Artists from the tri-state area are invited to submit work for this prestigious exhibition, held
every three years at the KMA. Juror Nan Rosenthal served as Curator and the Senior Consultant
for Modern and Contemporary Art at The Metropolitan Museum for 16 years. Ms. Rosenthal
organized such landmark exhibitions as Philip Guston; Chuck Close: Prints; Robert
Rauschenberg: Combines; and Jasper Johns: Gray. Artists should call the Museum at 914-2329555 x 0 or go to www.katonahmuseum.org after November 1st for a prospectus.
In the Learning Center
Younger Artists: Clay Stories
This is the tenth year that the Learning Center is providing younger students with an opportunity
to showcase their work in a museum setting. Individuals, groups, and entire classes create
original art inspired by their visits to the KMA. The exhibition will feature handmade clay
artwork.
March 8 – 15, 2009
In the Beitzel, Righter, and Project Galleries
Young Artists ‘09
This annual exhibition showcases the extraordinary talents of seniors from the Museum’s
member high schools. Students are engaged in all aspects of Young Artists—from the graphic
design of posters and invitations to the mounting of a professional museum exhibition.
March 29 – June 28, 2009
In the Beitzel and Righter Galleries
Lichtenstein: In Process
This exhibition of 65 works on paper by Roy Lichtenstein examines the artist’s creative process
and artistic evolution during the 1980s and 90s. Drawings, collages, and sketchbooks will be on
view, offering some of the best clues to Lichtenstein’s thoughts and working methods.
FALL PROGRAMS FOR ADULTS
Thursday, November 13, 9:00 am – 5:00 pm
Two Studios, Two Artists
Travel by luxury coach to Williamsburg, Brooklyn, to visit the studios of two Conversations in
Clay artists. The first stop is Arnie Zimmerman’s studio, where the artist will provide an inside
look at his most recent figural clay pieces and discuss how he conveys political ideas in
sculptural forms. After lunch the tour continues to Ann Agee’s studio, to see the artist’s
preliminary drawings and sketchbooks as well as her new series of figures.
Reservations required.
$75 members, $90 non-members
Friday, December 5, 6:00 – 7:00 pm
Gallery Talk
Curators Ursula Ilse-Neuman and Janet Kardon come to the KMA for a lively and informative
discussion about the extraordinary tableaux featured in Conversations in Clay.
Reservations required.
$10 members, $15 non-members
PROGRAMS FOR CHILDREN
Tuesdays, November 4, 11, 18, December 2, 9, 16
1:00 – 2:00 pm
Tuesdays for Tots
Three- to five-year-old children with their parent or caregiver experience clay and other
modeling materials in new and exciting ways in this series of hands-on workshops. Each week
students look at art in the galleries and then create projects inspired by what they observed.
Pre-paid registration required.
Ages 3-5 with an adult
$90 members, $108 non-members for 6-week course
Wednesdays, November 5, 12, 19, December 3, 10, 17
4:15 – 5:30 pm
Art Adventures (level 1)
Students get their hands into clay and ceramic modeling materials in this workshop series. Each
week students will spend time in the galleries looking and talking about the clay installations on
view, and then create their own art. Projects range from individual animal clay pots to group
installations.
Pre-paid registration required.
Students grades K-2
$90 members, $108 non-members for 6-week course
Thursdays, November 6, 13, 20, December 4, 11, 18
4:15 – 5:30 pm
Art Adventures (level 2)
Inspired by the extraordinary clay artworks on view at the KMA, students explore modeling
materials—including terra cotta, plastaline, and colorful synthetic clays—in unique and
innovative ways.
Pre-paid registration required. Students grades 3-6
$90 members, $108 non-members for 6-week course
Sunday, November 9
1:00 – 4:00 pm
Clay Family Day
Families will have a special opportunity to meet writer Jeanette Winter, whose love of Mexican
folk art brought her to Ocotlán, Mexico, where she first saw ceramic artist Josefina Aguilar at
work on her sunny patio. Original artwork from the book Josefina alongside the whimsical
figurines in the Learning Center are displayed. Aguilar’s whimsical figures are displayed
alongside the original artwork from Ms. Winter’s book Josefina.
Activities include:
• Exploring the exhibition Conversations in Clay with hunt sheets and family tours
• 1:30 – Meeting Jeanette Winter, who will discuss her book and sign copies
• Creating a clay folk art sculpture and participating in other hands-on activities
Free to KMA members, $5 non-members (ages 3 and up)
December 26, 29, 30, 31, January 2
10:00 am – 3:00 pm
Clay Days at the KMA
From colorful plastaline to terra cotta, each day of the school break offers unique clay projects
inspired by the art in Conversations in Clay. Young visitors can also enjoy the Museum through
special gallery activities and book readings. Visit our website for details.
Children ages 3-6 participate with an adult; 7 and older, adults must remain at the Museum.
$5 members, $8 non-members materials fee
TRAVELS
Wednesday, October 22
11:00 am
Mad about MAD: Museum of Arts & Design
Experience the Museum of Arts & Design in its new home at Columbus Circle. The luminescent
ceramic exterior of the building revitalizes an important urban space and underscores the
museum’s dedication to materials and process. A private one-hour tour includes highlights from
the permanent collection, a look at the first museum gallery dedicated to contemporary jewelry,
and MAD’s inaugural exhibition, Second Lives: Remixing the Ordinary. Individual
transportation and lunch; a list of nearby restaurants will be supplied.
Reservations required. Meet at 2 Columbus Circle.
$40 members, $50 non-members
($28 contribution included in cost)
May 1 – 16, 2009
Tour to China
Save the date for a KMA tour of China to experience this land’s ancient artistic culture. The trip
begins in Beijing, where the new and the old combine: Beijing is one of the world’s hottest
contemporary art cities, but it is also the epicenter of ancient Imperial Power—the Forbidden
City. No trip to China is complete without a visit to the Great Wall and to the Qin dynasty’s
famous Terra Cotta Warriors. The tour includes cutting-edge art at the Ulens Center of
Contemporary Art, the Museum of Modern Art, and the photography center, all located in
Shanghai. Trace China’s history from ancient dynasties to modern times through mosques,
murals, and museums when we visit Beijing, Dunhuang, Xi’an, Guilian, and Shanghai. As with
all our international expeditions, new surprises always emerge. Call Jacqui Potente at 914-2329555 ext. 2968 for details.
ABOUT THE MUSEUM
The Katonah Museum of Art is a non-collecting institution dedicated to the visual arts as a vital
force for life-long learning. The diverse exhibition schedule transcends categories, highlighting
artistic disciplines, cultures, and historical periods to create an open and welcoming environment
ideally suited to art education and programming. The Museum’s acclaimed Family Learning
Center features original children’s book art and provides creative hands-on experiences. Among
a stand of magnificent Norwegian spruce, a changing sculpture garden provides refuge and
visual pleasure. The Katonah Museum also offers outdoor concerts, artful parties, international
travels, and trips to other museums and private collections.
GENERAL INFORMATION
The Katonah Museum of Art is located at 134 Jay Street (Route 22), Katonah, NY 10536. 914232-9555. www.katonahmuseum.org
Directions
By Train: From Grand Central Terminal (Harlem Division of Metro North): The Katonah
Museum of Art is located 1/2 mile east of the Katonah railroad station. Taxi service is available.
By Car: Take Exit 6 off Interstate 684. Go east on Route 35. Take the first right onto Route 22
south. The Museum is located1/4 mile on the left.
Museum Hours: Tuesday through Saturday, 10am to 5pm, Sunday 12 to 5pm, Closed Mondays
OPEN LATE on Thursdays until 8pm during Conversation in Clay
Admission: 10 am – 12 Noon: free; 12 – 5 pm: admission $5, $3 for seniors and students;
Members and children under 12 free
Free Docent-Led Guided Tours: Tuesday through Saturday, 2:30 pm
Tours are free with admission to the Museum
PHOTO CREDITS:
Charles Simonds
Mental Earth, 2003
Clay, polyurethane, metal wood
156 x 144 x 72 inches
Courtesy of the artist
Betty Woodman
Ceramic Pictures of Roman Paintings: Internal Courtyard, 2007
Glazed earthenware, epoxy resin, lacquer, terra sigilatta, paint, canvas
95 x 84 x 12 inches
Courtesy of the artist and Max Protetch Gallery, New York
OTHER IMAGES AVAILABLE UPON REQUEST
For more information and/or additional images:
Gina Keir
Director of Public Relations & Marketing
Katonah Museum of Art
914-232-9555, ext. 2966
gkeir@katonahmuseum.org