Tony Marsh Ceramic Art

Tony Marsh

ceramic arts

ResumeEducation1988 New York State College of Ceramics at Alfred University, MFA1978- 81 Shimaoka Pottery, Mashiko, Japan Assistant to Mr. Shimaoka (Named Living National Treasure 1996)1978 California State University, Long Beach, BFAVisiting Artist - Workshops and Invited Lectures 2008 - 1987 • R.I.S.D° Anderson Ranch, Colorado° University Missouri, Columbia• Northern Clay Center Minn, MN ° University Georgia Athens/Cortona, Italy Studies Abroad Program• Northern Clay Center, Minneapolis, Minn• San Jose State University• Tainen Graduate School of Ceramic Art, Taiwan• Santa Fe Clay, New Mexico• Haystack School of Craft, Deer Isle Maine• Anderson Ranch, Colorado, Summer Workshop 03• Gardiner Museum of Ceramic Art, Toronto 2/03• Rochester Institute of Technology Fall 03• Seoul National University• Oakland Museum, Panel Discussion • Foshan International Ceramics Conference, China• Foothills Art Center, Golden Colorado • Michigan State Univ. Lansing • Chicago Art Institute • University Colorado, Boulder, Colorado SP/ • Idyllwild Center for the Arts• NCECA, National Conference for Education on the Ceramic Arts, Panel Moderator, Denver • Kansas City Art Institute, Kansas City, MO • UCLA, Los Angeles, CA • Ceramics Millennium Conference, Amsterdam, Lecture, • Alfred University, College of Ceramics, Summer Session Faculty • Nova Scotia School of Art & Design, Halifax, Canada• Otis Art Institute, Los Angeles, CA• Laguna Beach Museum of Art • Kent State University, Kent, Ohio• University of North Carolina, Chapel Hill, NC• Cortona, Italy, via University of Georgia, Athens, GA• Los Angeles County Museum of Art• New York University, New York, NY• Parsons School of Design, New York, NY• Alfred University, New York, NY• Hunter College, New York, NY• Kent State University, OH• University of Michigan, Ann Arbor, MI• Pomona College, Pomona, CA• Palo Alto Cultural Center, Palo Alto, CA• Peters Valley Craft Center, Layton, NJ• Santa Rosa Community College, Santa Rosa, C• Hong-Ik University, Seoul, South Korea• University of Hawaii, Honolulu, HI• Palos Verdes Art Center, Palos Verdes, CA• Cranbrook Academy of Art, Bloomfield Hills, MI• Institute for Creative Studies, MI• Penland School of Crafts, NC• Oregon School of Arts and Crafts, Portland, OR• Archie Bray Foundation, Helena, MO.• University of Washington, Seattle, WA• Emily Carr College of Art and Design, Vancouver, BC• Idyllwild School of Music and Art, Idyllwild, CA• California State University, Hayward, CA• University of Alaska, Fairbanks, AK• California State University, Long Beach, CA• American Ceramic Society, Los Angeles, CA• El Camino College, Los Angeles, CA• Golden West College, Huntington Beach, CA• Cabrillo College, Santa Cruz, CA• Monterey Peninsula College, Monterey, CA• Mendocino Art Center, Mendocino, CA• Foothill Creative Arts Group, Pasadena, CASelected Public Collections° Museum of Art & Design, New York• Metropolitan Museum of Art , New York• Los Angeles County Museum of Art• Museum of Contemporary International Ceramic Art, Inchon, S. Korea• San Jose Museum of Art• Oakland Museum of Art• Minneapolis Institute for the Arts• Taipei Ceramics Museum, Taiwan• Racine Art Museum, Racine WI• Gardiner Museum of Ceramic Art, Toronto• Newark Museum of Art, Newark, New Jersey• The Contemporary Museum, Honolulu, HI• ASU Art Museum Tempe, Arizona• Foshan Museum of Contemporary Art, Foshan, China• Long Beach Museum of Art, Long Beach, CA• Daum Museum, Missouri• Cranbrook Museum of Art• Resnik Collection of Contemporary Art, Los Angeles• Foothills Art Center, Golden, Colorado• Mendocino Art Center• General Mills Corporation• Alfred University• Monterey Museum of Art• Napa College• Walnut Creek Art Center• Takumi Folk Art Gallery, Tokyo, Japan• JINRO Cultural Foundation, Seoul, Korea• Hong-Ik University, Seoul, South Korea• Palo Alto Cultural Center• Downey Museum of Art• Anderson Consulting, Los Angeles• AT&T Cerritos, CAResidencies / Panels / Honors2008 Orange Coast College2005 Northern Clay Center Minn, MN Artist in Residence Invited Curator: Scripps 61st National Ceramics Exhibition Invited Speaker, 3rd World Ceramic Biennale, Icheon, Korea2002 Panel Participant, Southern California Ceramics, Oakland Museum2000 Panel Moderator, How Value Is Created NCECA Conference, Denver1998 Individual Artist Fellowship, Public Corporation for the Arts, Long Beach Distinguished Faculty Scholarly and Creative Achievement Award, CSULB1997 Guest Faculty, Cortona, Italy - via University of Georgia, Athens, GA1996 Drockman Distinguished Alumni Award, Alfred University, New York, NY1994 4th Annual Jinro Ceramics International Artist Workshop, Seoul, South Korea1994 Artist and Creativity Panel Discussion, Art Los Angeles, Los Angeles, CA1994 Contemporary American Ceramics Panel Discussion, Hong-Ik University, Seoul, South Korea1991 Ceramics Now, Invited Juror, Downey Museum of Art, Downey, CASolo Exhibition2009 Frank Lloyd Gallery Los Angeles2008 Galerie Pierre Marie Giraud Brussels 2007 Frank Lloyd Gallery Los Angeles2006 Harvey Meadows Gallery, Aspen2004 Frank Lloyd Gallery, Los Angeles2002 Garth Clark Gallery, New York Chosun Gallery, Seoul, Korea2001 Frank Lloyd Gallery, Los Angeles2000 Garth Clark Gallery, New York1998 Frank Lloyd Gallery, Los Angeles1997 Garth Clark Gallery, New York, NY1996 Frank Lloyd Gallery, Los Angeles, CA Garth Clark Gallery, New York, NY1995 Garth Clark Gallery, New York, NY1994 Winfield Gallery, Carmel, CA Toh-Art Space, Seoul, Korea1993 Garth Clark Gallery, Los Angeles, CAGroup Exhibitions2005 ° Frank Lloyd Gallery 3 Person Invitational Santa Monica ° Japan/USA, A Cross Cultural Exchange Invitational Santa Fe Clay ° Contemporary Ceramics San Jose Museum of Art • Trans Ceramic Art / 3rd World Ceramic Biennale S. Korea * Mostra, Piazza Casali, Cortona, Italy • Organic Abstraction Garth Clark Gallery, NY • Perforations Invitational, Northern Clay Center, Minn, MN2004 • Scripps 60th Annual Exhibition, Claremenot, CA2002 • Foshan Museum of Contemporary Art, Foshan, China • Garth Clark Gallery, Blue & White Radical Group Invit. • Group Invitational, Sherry Leedy Gallery Kansas City • The Artful Teapot, Traveling Exhibition 4 venues • New Acquisitions, Newark Museum of Art, New Jersey • New Acquisitions, Daum Museum of Art, MO • Idyllwild Art Center Guest Faculty, Idyllwild, California2000 • Defining Moments In Contemporary Ceramics LA County Museum Travels to: Kemper Museum, Tucson Museum, Memorial Art Gallery Rochester, NY1999 • California Craft: Laguna Beach Museum of Art, Invited 1997 • The Splendor of Porcelain, Los Angeles County Museum of Art • The Power of the Centre, PewabicPotttery, Detroit, MI • The Building of a Collection, The Contemporary Museum Honolulu, HI • 50 Years of Southern California Ceramics, Long Beach Museum, Long Beach, CA • Southern California Ceramic Art: A Survey, Pasadena City College • Faculty / Resident Artist Exhibition, Cortona, Italy1996 • Vessels, Armory Center for the Arts, Pasadena, CA • Joanne Rapp Gallery, Scottsdale, AZ1995 • The Essential Object, Palo Alto Cultural Center, Palo Alto, CA • Scripps 52nd Ceramic Annual, Scripps College, Claremont, CA1994 • Seoul Art Center, Seoul, Korea • Nature, Revolution, Detroit, MI1993 • California Crafts Museum, San Francisco, CA1992 • New and Notable Acquisitions, Cranbrook Academy of Art, Bloomfield Hills, MI • Swidler Gallery, Detroit, MIReviews and Publications° American Ceramics Magazine, 14/4 pg. 31, Feature Article w/image pg. 36,37 by G. Melrod• Ceramic Art / Taiwan , Feature Article, Winter, 2004, pg 109, by Lisa Lee• Ceramics Monthly, Feature article, Summer 2003, pg.60. by Thomas Butler• Ceramic Art & Perception, Issue 48 2002: Interview with Tony Marsh & Kurt Wieser• Ceramics Monthly, Summer Issue 2003, feature Article Pg. 60-63 W/images by T. Butler• The Artful Teapot, Book, Thames & Hudson 2001• Postmodern Ceramics, Book, Thames & Hudson, 2001• Color and Fire, Defining Moments in Studio Ceramics, Book, Rizzoli, 2000 • Contemporary Ceramics, Book, Susan Peterson, Watson-Guptil, 2000• Contact Magazine, Tony Merino Exhibition Review, Spring 98, pg. 21• Ceramics Art and Perception, Janet Mansfield Exhibition Review, 1998, Issue #31, pg. 33• American Craft, Acquisitions, April/May 1997, pg. 31• New Art Examiner, Exhibition Review, Steve Hohenboken, Summer 1996, pg. 44• Kerameiki Techni, Panorama, Exhibition Notice, Summer 1996• San Gabriel Valley Weekly, Exhibition Review, Jim Cavener, January 26, 1996, pg. 10• Artweek, West Coast Clay, May 1995, Vol. 26, No. 5• American Ceramics, Exhibition Review, Vol. 11, Issue 4, pg. 56• Korean Monthly Art Magazine, Interview with American Artist Tony Marsh, August 1994, pg. 142• Artweek, Exhibition Review, October 17, 1993, Vol. 24, No. 19• Ceramics Monthly, Jurors Statement, Tony Marsh; Ceramics Now / 91 Exhibit, 1991, pg. 24• The Detroit News, Exhibition Review, Joy Hakanson Colby, March 8, 1991, pg. 2D• Clay Today Contemporary Ceramists and Their Work, Martha Lynn Drexler, Los Angeles County Museum of Art, Chronicle Books, San Francisco• Studio Potter, Bay Area Potters, Winter 1985• American Craft, Photo, August/September 1983, Vol. 43, No. 4, pg. 62• Los Angeles Times, Exhibition Review, Calendar Section, Robert L. Pincus, February 3, 1984, pg. 13• Monterey Peninsula Herald, Review, Irene Lagorio, August 14, 1983, pg. 7B• Mendocino Beacon, Building a Ceramics Program at the Mendocino Art Center,Artist StatementArtist Statement The ceramic vessel is currently my primary vehicle of expression. I am fascinated by its deep and unparalleled history and position between nature and culture. While the vessels that I make are not utilitarian nor do they specifically refer to a historical pottery type or style, I believe that I use them as a device to address the essential. On a simple level they do attempt to pay homage to what pottery from around the world has always been required to do, hold, store, preserve, offer, commemorate and beautify. Marriage, fertility, creation, death and the difference between the numinous and the physical are the essential primary subjects related to human experience that occur and reoccur in my work. Much of the work is dichotomous in nature; being both sensual and cerebral, organic & geometric, solid & weightless, masculine & feminine. In the end, whether it might be a vase on a table, an empty coin bank, the bowl on the night stand, a burial urn or a ballot box, what could be more natural than to put something in a vessel.Preforated Vessels There is something ironic about taking a material like clay which is dense, opaque and ruled by gravity and then removing as much mass as possible, replacing it with light and creating forms that hover. It is addition by subtraction. The surface is coated with between 4 and 6 applications of a vitreous engobe. Light enters the surface of the work and refracts through the body of glaze. The work changes according to the ambient light of the environment within which it resides. The forms that rest in the vessels are all shapes that we know, primarily rendered from geometric solids. By perforating them as intensely as I am able and covering them with a surface that at times can glow, it is my intention with this work to begin to dematerialize those forms perhaps to suggest the ethereal.hing in a vessel?BiographyInterview

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