Ceramics

Art Practices

Our state-of-the-art, LEED-certified building includes large classroom studios and the Woodman Study Collection: one studio is devoted more to throwing and the other is solely a hand construction studio. Dividing the two spaces is the exhibition room for the Woodman Study Collection. The Woodman Study Collection is a collection of ceramic objects started by Betty Woodman. She had acquired these pieces over her thirty years of teaching in Boulder. The collection has two large glass cases of displayed work and a room with a study table for closer observation and handling of ceramic objects.

Undergraduate students in ceramics are engaged in a rigorous program that simultaneously develops their conceptual, technical, and formal skills as artists. There is a natural progression of courses, beginning with more structured assignments and skill development, working towards more independent projects at the advanced level. At all levels, students engage in lively critiques and develop their formal language as they learn to look carefully and discuss one another’s work.

Explore the Ceramics Program

  • 10 Electric Kilns
  • One very large front-loading
  • One smaller front-loading
  • One large Oval
  • Two large top loading
  • Four smaller top loading
  • One small test kiln
  • Gas and Wood fired kilns
  • Four downdraft car kilns (one mid-sized, three large)
  • Two mid-sized front-loading downdraft kilns
  • One smaller front-loading downdraft kiln
  • One mid-sized downdraft soda kiln
  • One large downdraft salt kiln
  • One large downdraft wood-fired kiln
  • Clay Mixing Room
  • One large 400-500lb. capacity mixer
  • One smaller Soldner mixer
  • One de-airing pug mill
  • One large capacity slip mixer

Plaster Laboratory: The Sculpture and Ceramic Area share a designated Plaster working room. It is large and well equipped and separate from any other clay or sculpture studios.

Clay and Glaze Laboratory: The ceramic area has a fully stocked glaze-mixing laboratory with all the materials necessary for a full studio practice. The material selection is extensive to encourage experimentation across all firing temperatures. The room is large enough to use for glaze application of smaller works. There is a large spray booth for spraying glazes in the kiln building.

Exhibition Spaces: The ceramic area has many designated exhibition spaces including a very large gallery space on the ground level lobby of the Visual Art Center. The entire building has over 25 exhibition spaces for students to reserve and show their work.

Advanced students work together in a large shared studio, each student has their own designated space (the room is locked during off hours). This studio will accommodate approximately 15 upper level students and promotes engagement between peers.

Ceramics 2: Wheel throwing teaches students the basics of throwing on the wheel, but also investigates surface decorations with engobes and glazes, high-temperature gas kiln firing, and conceptual ideas about the vessel.

Ceramics 2: Handbuilding covers the range of handbuilding techniques to create both architectural and organic forms, as well as working with low-temperature surfaces, electric kiln firing, and large and small scale sculptural projects.

Ceramics 3: Intermediate offers the chance to build on previous skills. Projects might include working with mold making and multiples, a large plate project for the development of surfaces, installations, or developing a narrative through objects.

Ceramics 4: Advanced gives students a chance to work more independently on projects of their own design. Students typically have an opportunity to develop their ideas about presentation of their work in one or more group shows. We also have a strong program of Post-Baccalaureate students in the ceramic area; these students are part of the Advanced Class and lend their expertise, as well as setting a high level of expectations for the class.

Special Topics: Special topics courses have included Ceramic History, Raw Materials: Clay and Glazes, The Object as Prop, Political Content in Ceramic Art, and others. Students are encouraged to take at least one special topics course at any point after the beginning level courses.

We are looking for students who will be able to make excellent work, and work within the schedule required of a BFA student. Your track record as a student, therefore, is a very important consideration in our decision to accept you into the BFA program.

To be a successful applicant, you should have:

  • an excellent attendance record for your ceramic courses
  • all assignments for ceramic courses completed on time
  • ambitious projects: do more than what is asked for you for each assignment
  • clear internal motivation (you should not rely on external pressure or deadlines to make work in the studio)

In the application, we are looking for:

  • a thoughtful artist statement that demonstrates you have insight into your own work, and addresses the questions you are asking of yourself in your studio practice
  • a body of work that goes beyond assignments completed as class work; we should start to see cohesion in the work you are making
  • a high level of technical proficiency
  • formal decisions in your work that support your ideas
  • overall, a carefully constructed application, with good images of your work

Always feel free to consult with any of the ceramic faculty for advice on putting together your BFA application. We wish you the best of luck!

  BFA Application & Information

Stephanie Cantor, MFA Ceramics

 

CU Ceramics program in the news, image of CU Art Museum

 

Area Faculty

Alumni Spotlight

Alumni: Schiffman

Judd Schiffman

MFA, Ceramics, 2013

Judd Schiffman artwork

I loved the work of all the ceramics professors and felt aligned with their approach towards art-making. After visiting, I felt like everyone in the program was dedicated to their studio practice but also invested in their students, and that there was a strong sense of community. I was right, and it was one of the best decisions I ever made. All the current graduate students were completely immersed in their studio practices and intent on transforming their work. I also liked the interdisciplinary nature of the program.

Judd Schiffman artwork

It was a rich time for me, all I did was work in the studio, read, and hang out with new friends from the graduate school. I had meaningful conversations and felt immersed in a rigorous practice. I spent a lot of time thinking about what art is, and how it can be a part of my life. I was invigorated by the visiting artists, professors, and other students dedicated to making art. I laid the foundation for a lifelong studio practice, expanded my understanding of historical and contemporary art, and started the process of becoming a professional artist.

Judd Schiffman artwork

I just completed my third year as the Visiting Assistant Professor of Ceramics at Providence College in Rhode Island. I am making new work for a solo exhibition at Maake Projects in State College, PA, a group exhibition at Inman Gallery in Houston, and a group exhibition at 1969 Gallery in New York. My recent work explores utilizes wall-mounted, framed narratives composed of ceramic tiles to explore themes of masculinity, discovery of self, sexuality, and family, and all the nuanced guilt, confusion, and elation that exist in tandem.