The graduate program in ceramics at Southern Illinois University Edwardsville encompasses the diversity of approaches currently being explored in contemporary ceramics. Committed to fostering the evolution of ideas and techniques, and broadening the scope of possibilities within contemporary ceramics, the program also maintains a high standard of craftsmanship. A healthy balance of functional potters, vessel-makers and sculptors keeps the studio environment dynamic and engaging. Exploration in other studio areas as well as art history is required as a means to foster artistic growth across disciplines. A strong work ethic, attention to detail, artistic research and craftsmanship are required to successfully complete the graduate program. A positive attitude, which is conducive to working within a large studio community, is essential.
See how today's ceramic artists are taking the lessons from old traditions and shaping their work for the future. Meet emerging and established ceramic artists and find out what influences their work. Learn more about the issues affecting contemporary studio ceramic artists and potters. In these articles, you'll find out how working artists make it work. You'll learn about their inspirations, methods, challenges and see examples of some of the best ceramic art being made today. And don't forget to download your free copy of Emerging Ceramic Artists: New Pottery and Ceramic Sculpture. You won't want to miss these up-and-coming ceramic artists who are sure to make a mark on the ceramic art world!
The ceramics faculty at Louisiana State University
recognizes the importance of inventive personal statements and the
experimentation and exploration of visual concepts. We emphasize the
marriage of art and craft and try to avoid narrow vocational goals.
Divisions between media are considered to have disappeared and the
graduate-level student is expected to work as a maturing artist
motivated by independent ideas. Our graduate students’ interests vary
from a strong functional pottery orientation to the concerns of
sculpture and conceptual art.
The aim of the MFA program at the University of Nebraska-Lincoln is to
help each student find his or her voice as an artist. MFA candidates
spend three years developing their thesis-the ideas, concepts,
approaches and values that will shape their work, now and in the
future. Students are strongly encouraged to take three full years to
finish their degrees. This extra time is intended to be a wise and
productive investment, resulting in MFA exhibitions that are truly
The UC Davis Department of Art’s MFA graduate program philosophy is to
bring in students of the highest creative caliber and potential, and
provide them with a rigorous program of independent research and
sustained artistic development. The program recognizes that students
are developing into individual emerging artists in the professional art
world, as well as, in many instances, becoming art teachers and
professors in public and private schools and colleges.
Established in 1926, The Ohio State University Ceramics program is one
of the oldest in the country. The educational philosophy of the
program, which operates inside the larger graduate program in The OSU
Department of Art, encourages students to bridge the boundaries of both
concept and material. The program promotes a cross fertilization of
media and methods and places a high value on intellectual research.
Taiwanese potter Po-Ching Fang (pronounced Fong) explains midway through our interview that his vision of nature, like his vision of a cup, is of a world both constructed and organic, and in this combination one finds a universality understood by all.
Molly Hatch interviews Deborah Schwartzkopf on her work, how she started, and her life as a working potter.
Like a lot of potters just starting out, Schwartzkopf discovered that travel and relocation are part of establishing a reputation and a body of work.
Monthly Methods: Pots as Puzzles by Deborah Schwartzkopf
Across all studios, our overriding objective is to cultivate and enrich curiosities. We ask the individual to become comfortable with the uncertainties of risks, in exercising the freedom of the graduate experience to explore what they don’t know.
Nuala Creed’s sculptures of precious babies and sweet children draw our
attention and entice our interest. Their innocence and helplessness
draws out our humanity. The gas masks and weapons strapped to the
babies startle and pique our curiosity.