From the pages of Ceramics Monthly

The MFA Factor: University of Washington

With the start of a new school year, we return to our profiles of graduate ceramics programs. We'll be publishing a new profile in each issue through the fall, so stay tuned for more!

University of Washington

A large and flexible studio has been developed to encourage all aspects of ceramics including space for a seminar/lecture room and gallery. Undergraduate and graduate students work side by side with a strong sense of community and are encouraged to push the boundaries of the medium as befits the nature of a research university. The program has no bias regarding the type of work an applicant makes, whether it be functional or sculptural, pottery or figurative.

The core of the curriculum is the graduate studio, where each student works independently under the supervision of one of the three faculty each quarter. Bi-weekly studio visits allow for extended conversations between students and faculty in the presence of ongoing studio work. Periodic seminars cover a wide range of topics including discussion of artists such as Matthew Barney, Ken Price and Kiki Smith, exhibitions such as the Venice Biennale, Whitney Biennial and Clay and Fire, or practical topics such as Life After School. At the end of each quarter, there is a formal critique day where each student sets up their work in the gallery for an hour-long critique with the ceramics faculty, one distinguished guest, fellow graduate students and additional faculty or artists of the student’s choosing. These rigorous critiques are a highlight of the program and provide a dynamic and professional forum for forthright discussion and feedback from a variety of voices.

UW Faculty Akio Takamori specializes in figurative clay sculpture. He has taught at UW since 1993. His work is represented by Frank Lloyd Gallery in Los Angeles, California. He received his B.F.A. from the Kansas City Art Institute in 1976 and his M.F.A. from Alfred University in 1978. The Laughing Monks, Kanzan and Jittoku, 45 in. (114 cm) in height each, stoneware with underglaze, gallery view, 2006, at Henry Art Gallery, Seattle, Washington. Jamie Walker specializes in ceramic sculpture and installation and has taught at UW since 1989. His work can be seen at William Traver Gallery, Seattle, Washington. He received his B.A./B.F.A. from the University of Washington in 1981 and his M.F.A. from Rhode Island School of Design in 1983. Natura Morta, 5 in. (13 cm) in height, thrown and handbuilt, cassius basalt clay, cone 6 oxidation, 2002. Doug Jeck specializes in ceramic sculpture, photography, video, performance, drawing and collage. He has taught at UW since 1996. His work can be seen at William Traver Gallery, Seattle, Washington, and Perimeter Gallery, Chicago, Illinois. He received his B.F.A. from Appalachian Center for the Crafts in 1986 and his M.F.A. from School of the Art Institute of Chicago in 1989. Pathetique, slip, television set, trunk. Back to Top

UW Grad Students Rachel De Condé The UW Ceramics Program is an environment where ceramics does not dictate my research, but rather where ideas can be pursued in whatever material best expresses the particular trajectory of my work. I completed a one-year residency in Toronto, Canada, and was a post-baccalaureate student at the University of Regina for a year between undergraduate and graduate school. I felt time outside of the academic environment was important to my practice. I intend to teach at the post-secondary level after I complete graduate school. Evan Blackwell I’m attending UW’s ceramics program because it allows me the artistic freedom to pursue my ideas without the constraints of traditional criteria. I took seven years between undergraduate study at Alfred and UW to develop work outside of academia and challenge my intentions to make art. After graduation, I will pursue public art, gallery shows, teaching opportunities, grants and residencies. Alicia Basinger I chose UW because there is no wood kiln. Before attending graduate school, I spent two years making work in a shared private studio with other clay artists. This interval was very beneficial for the personal development and growth of my work. It also allowed time for me to exhibit, gain teaching experience and to learn what it is like to run a studio. Graduate school is like being on a playground. It is an important time to focus entirely on the development of your work and ideas. It is about taking risks and sometimes failing. Currently, I feel as though my work is in a state of transition, and it is more important to put all of my energy into its progression than to actively pursue an exhibition career while in school; however, I have accepted invitational exhibitions. Amy Elizabeth Johnson UW has a reputation of being a competitive program. The demands of the faculty and the expectations that they uphold are incredible. I knew that the University of Washington would be the most challenging school for me. It is in these situations that I have historically found growth to be most productive, and experiences the most rewarding. I also wanted to be in an environment that encouraged experimentation and interest in other media. The department is very supportive of working in an interdisciplinary studio. Matthew Van Horn After school, I’d like to find a studio with some classmates and begin to show my work. Eventually I would also like to teach. Kinu Watanabe The ceramics program at UW is open to explore any kind of media besides clay to accomplish work, which I feel is unusual in ceramics graduate schools. Faculty are active artists and give intense critiques. Also, we have a lot of interaction with local artists. I took three years between undergraduate and graduate school to improve my English and to work on my portfolio. I did extended study for one year, and was a lab technician/artist-in-residence for another year at San Diego State, which was a great experience for me. It was a good idea to get used to American culture and school before going to graduate school, so that I can focus on what I really need to do. Michael Simi UW’s reputation for experimental use of media outside of the clay tradition was extremely important for me as my work seldom uses just clay. I wanted to go to a school that was in it to make art and didn’t give a hell about what it was made out of. I took one year between undergraduate and graduate school to save money and decompress from academia, albeit for a short period. I want to be able to pay my bills and continue to make my work. I’ll steal hubcaps if I have to so I can keep making work. Kristine Veith I wanted to attend UW because of the impressive faculty. Since I work with the figure, I wanted to study with professors who were proficient with figurative work and were willing to allow their students to push the boundaries of any and all mediums. I was out of school for four years before graduate school. I had a two-year residency at the Archie Bray Foundation, after which I moved to Seattle and worked at Macy’s on their visual displays. Back to Top